
II 



l'^?,^ 



PRACTICAL ELOCUTION 



G®llegeS and ^Gh©®ls 



PRIVATE STUDENTS. 



BY 



j: w. shoemaker, a. m.. 

tatf /Resident of ike National School of Elocution ana Gratary 



ENLARGED 

#ITH A WIDE VARIETY OF SELECTIONS TOR PRACTICE. 



We could not allow him an oratoT who had the best thottg^hts^ 
and who knew all th^e rules of rhetoric, if he b&d not acquired tbiB 
art ttX nsins them.^^-JDjBVPEN . 



Philadelphia 
'Rie Penn Publishing Company 



1922 









Entered, ace ^rding to Act of Congress, in the year 1880. by 

in tJtie office of the Librarian or C >ugress «- Washington. • 



CX)PYRiOHT. 1886, BY The National School of Elocution 
AND Oratory 



Copyright, 1908, by Mrs. J. W. Shoemakeu 
CoPYBiGHT 1922 BY Frank W. Shoemaker &, Dora A. Shoemaker 

The following selections are u^ed bv permissioti of, and ar 
rangement with, Messrs. lluughion, Mifflin & (Jo. , tlie oublisnere 

Sandalphon H. W. Longfeliow 

The Boys ^ . . . . * . . O. W. Hi)lme'i 

Masters of the Situation . James T. F'slds 

Pictnresot Memory , Alice Car r 

Orpheus and Euryd ice . ..... , . O. W. Hoiaies 

An Extract from Snow-Bound . • . . J. G. Whittier 

CKANSFERREO PSOi 
, 00PYS3ISHT Of ROE 

?raotical Elocution 

NOV 17 '22 



■N 



^ 



^0 the |itedcirf» 



HATIONAL SCHOOL OF ELOCUTION AND ORATORY. 

TO WHOSB 

Enthusiasm, Faithfulness and Loyalty 

Tthb author is indebted for so much strength an» 
inspiration in his work, 

and whose memory he cherishes with 

NEXT TO A parent's LOVE, 

THIS BOOK 
M AFFECTIONATELY INSCRIBED. 



PREFACE. 



The study of Elocution and Oratory was pursued to a very 
high degree by the ancients, and is therefore an old study. 
It was, however, so nearly lost as a distinctive branch ot cul. 
ture, and it received so little attention foi many succeeding 
centuries that it may be very justly termed a modern science. 

It was the original design of the author to prepare for the 
usr of the National School of Elocution and Oratory, an 
outline of principles embodying his system of instruction, 
and to furnish the students of the institution a text for their 
future personal or public work. The rapidly increasing de- 
mand, however, for a more extended exposition of these 
principles, and for a copious collection of appropriate exer- 
cises, together vnth the urgent request of many students 
and educators throughout the country, has led to the pub- 
lication of '* Practical Elocution J' 

Now that the work has been completed, and is about to go 
forth on its mission, we are led to realize more deeply than 
ever how little of the spirit can go along with the letter — how 
littU of the Inepiration which the true teacher should impart,, 
can accompany the monotonous lines of the printed pagpi. 
We do not believe any theory can substitute for the living 



tin PRAC?yiCAL ELOCJtJWON. 

presence of the teacher. The theory of Elocution can no 
more produce good readers and speakers than the theory of 
music will make good singers or experts on the instrument ; 
yet correct principles may so direct the student away from 
error, and towards the truth, and may furnish to the teacher 
such resources in methods and exercises as would require 
years of time to arrange for himself. 

Elocution will not euhstitute for intellect; neither will it 
furnish material for the mind any more than gold will buy 
material. It will not provide thought. It will not even pro- 
vide vehicles or words, so necessary to the discussion and 
exchange of thought. Its work is to give principles and 
direction for the management of thought after it has been 
furnished and clothed. Knowledge is capital, only valuable 
as it is available, and Elocution is the great natural means 
of rendering knowledge available. 

Spoken language may he said to hear three distinct relations to 
the signification of the tvords which enter into it. 

First. — A sentiment may be so uttered as to weaken or 
pervert the simple meaning of the words. Wanting in the 
necessary force, emphasis misplaced, or modulation disre- 
garded, the words, though possessing volumes of thought, 
may be rendered almost void of meaning. 

Second. — Tlie sentiment may be so spoken as to leave its 
plain meaning unaffected, neither adding to or taking from 
the mere signification of the words. The listener, hearing, 
and being familiar with the words, obtains an intellectual 
knowledge of the thought expressed. He is impressed with 
the words only to the degree that he is interested in the 
thought. There is nothing in the presentation to attract his 
attention, or that will awaken interest within him. Had he 
seen the words in the skeleton forms of written language, the 
effect would have been the same. They have been presented 
to his sense alone. 

Third. — The same sentiment may bo gpoken to that It iih&\\ 
not only express the idea indicated, but that it shall tmpress 
<'hat idea upon the mind and heart. Under this character of 



iit*trftne« w« supplement the form of words with their power, 
inyesting the mere passive clay -with the life-giying principle 
which shall send it forth an active, aggressive influence. 

This we believe to be the original and legitimate design of 
ipeech. It could not have been the purpose of the Creator 
that this marvellous faculty should perform the service of a 
mere dead machine. Correct, cultivated utterance give* 
emphasis and spiritual effect to written language. 

In the following pages the attention of teacher and student 
has been directed prominently to the study of natural speech 
a« revealed by Conversation. It is believed that we may here 
find nature most true, however crude, and that we may obtain 
from her, models and inspiration for the more exalted con- 
ditions of speech. Spoken language finds its original and 
^simplest forms in conversation. 

The conditions of mind and body in ordinary conversation 
are best adapted for the study of our own individuality. We 
cannot study self when on exhibition. We dress up for 
strangera. We spend much time and means to prepare our 
bodies for distinguished company, not always with the most 
happy effect. Sometimes it results in such a perversion of 
our natural appearance as to give offence rather than 
pleasure. So, in the expression of our thoughts, voice and 
manner are modified by the presence of the multitude, and 
sometimes, upon great occasions, they are so perverted as to 
lose all that is natural and impressive. Thus thousands fail 
of their just merit in presenting themselves to strangers. In 
the effort to be natural they become unnatural. In their 
attempt to represent themselves for what they are not, they 
fail to receive value for what they are. Nature may be 
pruned, cultured and directed, but we cannot substitute it. 
I will always be stronger as myself than I can be as any 
one else, and as we represent ourselves most through our 
words, we should in our words be most true to ourselves. 
We should study ourselves and seek our examples from that 
©ondition where true nature is least modified. This condi- 
tion we believe to be that of corwermtion with our intimat« 



» PRACTICAL ELOCUTION. 

frienda. Conversation may be most faulty and corrupt, yeV 
we will find in it a harmony with our own natures, and con- 
stantly recurring lights and shades of natural expression that 
may serve as models for study and imitation, such as we can 
find nowhere else in the whole range of utterance. But it ia 
not sufficient to find the germs. They must kave growth 
and maturity. The work of culture and development pre- 
cedes the efficient use of all our faculties. Man, in the crea- 
tion of his own being, is made a partner with God. We are 
co-workers with God in self-construction. He gives us the 
plastic material, with directions or laws for its use, condi- 
tioning the result of the work upon the application of those 
laws. 

It is better to develop our own faculties, though inferior, 
rather than to attempt to appropriate another's. Our own 
will serves us better, because designed for us by the Creator, 
and hence in harmony with our being. God will hold us 
responsible for the talents He has given us. He does not 
ask that we buy or borrow, but demands increase through 
culture and development. The expression of thought and 
feeling, therefore, should be in the simplest and purest har- 
mony with the elements of our individual nature. But how 
to find our true nature may prove our most difficult task. 
We have been so misdirected that there has grown upon us 
by observation and contamination, such a coating of man- 
ners and habits foreign to the original, and we have acted so 
long in sympathy with this accumulated surface that we may 
hardly recognize our true selves. We have so long followed 
the untrue that we may hardly know the true. We have so 
long associated with this outer that we fail to comprehend 
the inner. Habit has become so fixed as to constitute a second 
nature, and close analysis becomes necessary that we may 
draw the lines between our own nature and this accimiulated 
or borrowed nature. Our first work, then, is to distinguish 
the true fi-om the false, the original from the borrowed, 
fwture from habit, that we may develop, each in himself, tht 
original creation, rather than the warpod and distorted cpea- 
Hon of our «wn handiu 



PREFACE. XI 

The author would here make gi-ateful acknowledgment of 
he assistance he has received in the preparation of this 
work by those directly associated with him in the Institution 
over which he presides. Mrs. Shoemaker, Prof. J. H. Bechtel, 
and Prof. R. 0. Moon, have furnished him the fruit of their 
investigations in the several departments which they repre- 
sent, and are worthy of more prominent mention than he 
can here afford them. He does not forget the many friends 
to whom he ia indebted for suggestive help, for counsel, 
and for encouragement. 

That " Practical Elocution " may contribute, in some 
degree, to the elevation of a noble art, has been the aim, 
and remains the earnest hope of th« author, 

J. W. S. 
Philadeuphia, Septeaber 3d. 1878. 



KrrLASATOVT NoTB.— The referenc* to the seTeri*! nnmbiirs of ^h^ Hocu- 
tloziist'i Annual for sidditional examples, has been made for the advanta^ at 
studsnts aiMl otben who maj use that serieii in tonnaetlom yriik tkU toIuas. 



• CONTENTS. 



Introdnctlon, ...... 

Outline of Xlocutlon and Analysis of Piincipl«i (Diagram), 

Explanation of the Outline, .... 
I>efimtion, .... 

Importance, .... 

In Physical Developmtat, 

In Social Life, 

In Business Life, , 

InPubUcLife, 



CONVERSATION 



For its own sake, 

Examples, 
In its relation to Beading:, 
In its »«lation to Pablic AddresA, 



PRINCIPLES, 



Spe«eh» . , . 

Voice, . ? 

Philosopby of Tolo*» • 

Utterance, . * 

Development, . . 

Breathing, . • 

Exercisec, . . 

Vocal Exercises, 

Table of Vocal i^eroiscs, 
Examples, 
Gymnastics, 

Exercises, , 

Quality, 
Pure, 
Simple Pure, . 

Examples. 
Orotund, ; • 

Ibnpurs^ • 

l^KtoraJ, , • 

EzamfiM, 



* For full Alphab*tl«a^ fad.x, 8«e pag* HI. 



xm 



xiv 



comxsriM, 



Guttural, . . 

Example!, 
Aspirated, 

Examples, » 

Falsetto, 

Examples, 
Articulation, 

Classification, 

Table of Elementary Sounda, 

Exercises, 
Expression, 
Modulation) 

Quality, , . 

Pitch, 

Examples, , 

Force, 

Examples, 
Time, 

Rate, . . 

Examples, . 

Quantity, 

Examples, 

Pause, . . 

Examples, 
Slides, 

Examples, 
B—txixe, 

Position, 

Moremeuts of th« Bodj, 

Examples, 
Facial Expression, 

Examples, 

METHODS OF 

Theory, 

Outline of Methods, 
Primary, 

Advanced, . . 

Appendix, 

Miscellaneous Suggestions, 

Emphasis, 

Miacellaneoos Yooal Bxtbi'mh, 

Laughter, 

Bible Eeadinfc 

Sound to S«ns«, . t 

Transition, . • 

Analysis, . , • 

Bepoee, . . • 



INSTRUCTION. 



U 
•c 

M 
«1 

64 

68 
69 

80 

81 

76-88 

112 

lis 

118 

lis 

114 
118 
119 
122 
123 
123 
127 
127 
129 
12» 
181 
182 
141 
142 
145 
147 
168 
15» 



170 
180 
180 
188 
186 
180 
116 
187 

180 
IBl 
192 
lf2 



CONTENTS, 



SELECTIONS FOR PRACTICE. 



PAGV 

Sandalphon, Longfdlow 197 

Bcho and N*rci8«U8, Thomas Bulfinch 199 

lAdy Clara Vere de Vcre, Alfred Tennyson 202 

MassachusetU and South Carolina, Daniel Webster 204 

How They Brought th« Good News from 

Ghent to Aix, Robert Browning 207 

Othello's Apology, Shakespeare 209 

Paul Before King Agrippa, Bible 211 

Nightfall W. Vr. EUsworth 218 

Catiline's Defiance, Oeorge Croly 215 

The Honored Dead H. W. Beecher 217 

The Voice in the Twilight, Mrs. Herrick Johnson ... 219 

The Boys, O. W. Holmes 222 

Masters of the Situation, James T. Field 223 

Kentucky Belle, Constance Fenimore Woolson. 226 

Trust, DeanAlford 232 

The Loss of the Arctic, H. W. Beecher 283 

The Cataract of Lodoro Boberi Southey 236 

Your Mission, 238 

Our Duties to Our Country, Webber 289 

Marmion and Douglas, Str Walter Scott 240 

Pictures of Memory, Alice Gary 842 

Caasius Against Caesar, Shakespeare 244 

Tact and Talent London Atlas 246 

God's First Temples, W. C. Bryant 248 

The Nature of True Eloquence, Jkmiiel Webster 251 

Orpheus and Eurydloe, John G. Soxe 252 

A Welsh Classic, M.H. BaUard 956 

Kolofy OQ O'OoximU, , . .W,B. Sward %8 

XV 
\ 



xvi 

PAG» 

▲ Man's a Man for a' That Sobert Burn* 260 

The Sailing of King 01a4 Alice WiUiams BroOurUni . 261 

Supposed Speech of John Adams on the 

Declaration of Independence, Damid Wd>tter 266 

The Clown's Baby, 268 

Extract firom a Eulogy on General Grant, . . J. P. Newman 271 

•' Bay Billy," Frank H. Gaseaway .... 273 

Words on Language, O. W. Holmes 277 

An Extract from Snow-Bound, J. O. WMUier 279 

John Bunyan, Macaulay 281 

Lochinvar's Rid« Sir Walter Scott 282 

The Two Roads, Jean Paul BichUr 284 

The Revolutionary Rising Thomas Buchanan Bead . . 286 

A Lost Chord, Adelaide Anne Prodor . . 289 

The American War, PUt 290 

The Glass Railroad George Lippard 891 

Guide me. O Thou Great Jehovah ! W. WiUiamt 294 

In the Cross of Christ I Glory, J. Bovoring 295 

Jesus ! Lover of My Soul, C. Wetley 295 

My Country! 'Tis of Thee, 8. F. Smith 297 

Matthew XXV, *^ 

FMilm XCI •* 



INTRODUCTION, 



Elocution, from eloquiy to speak out, to expreas, 
(«, out; and loqui, to speak,) as now applied, 
contemplates the whole art of conveying thought 
through the organs of the body. 

Before entering directly upon the study of this 
iubject, we may receive a worthy inspiration in con- 
sidering the broad and abundant opportunity which 
opens to us. Elocution concerns the commerce of 
mind and soul. As such, it involves the capability on 
the part of the student to comprehend, to appreciate, 
and to communicate thought and emotion. To this 
end, he needs the best of all his powers. It is only the 
voice that has reached its best, and the eye that 
beams from the soul, and the hand of grace, and the 
attitude of manhood and womanhood, that can convey 
the immortality which has been breathed upon us. 

By sin these powers have been enfeebled and 
deformed and under its burden their deformity 
increases. Guarded and regulated by the laws of 
our creation, they may be rescued and made poten- 
tial in conveying the very mind of the Creator. 

17 



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MAOTIOAL SLOCUTXar. 



DEFINITION. 



Elocution relates to manner or style in speaking. 
Good Elocution consists in the natural expression 
of thought by speech and gesture. 

Note 1. Natural must be understood as applying to car 
highest or God-nature, and should be carefully distinguished 
from habit or second nature. 

Note 2. The term expression is strengthened, if understood 
to include conveyance or passage, as of a body from one 
place to another. 

Note 3. Thought has here its broadest application, and 
signifies feeling and passion as well as sentiment. We should 
convey not only the idea contained in the thought, we should 
also convey the impression made upon us by the thought. 

Note 4. Speech covers every intelligent use of the organs 
of speech, articulate and inarticulate, whispered and vocal. 

Note 5. Gesture concerns position and facial expression, 
as well as movements of the body. 

Note 6. Thas it will be seen that correct elocutionary 
training is the subordination of the entire physical being tc 
the service of mind and spirit, thought being the product of 
the inner or spiritual man, and speech and gesture its naturaJ 
autlet through the exterior or physical man. 



IMPORTANCE. 



IMPORTANCE. 



m PHYSICAL DEVELOPMENT. 

Elocution calls into play the most vital organs of the 
human body, the correct use of the voice constituting an 
important source of grace and strength to these organs. 

It will demand correct posture and proper habits of res- 
piration ; it will afford healthful exercise to the throat and 
lungs ; it will bring the intercostal muscles into vigorous 
action ; it will give natural stimulant to the circulation, so 
that the organs of digestion and the entire physical system 
participate in the benefit. 

It is justly claimed that no other exercise will call forth 
so natural and uniform an action of the whole system, as the 
proper exercise of the voice. 

IN SOCIAL LIFE. 

It is in social life that we mould character, and exert the 
most lasting influences. These influences are exerted through 
word and deed. Word and deed receive their character, in 
a great degree, through voice and manner. We will, there- 
fore, render our influence agreeable and effective, largely 
M proportion as the voice and manner are pleasing and 
attractive. 

Temperament, disposition and motive will be measured 
by their outward expression. If this expression is coarse, 
abrupt, and unattractive, the inner life will be exposed to a 
corresponding verdict ; and in proportion as this expression 
i)ecomes natural and refined will the verdict be changed. 



22 PRACTICAL ELOCUnOK. 

Our happiness and usefulness, therefore, in the social rela- 
tions must depend greatly upon the culture of these qualities. 

It is further important, because our social relations include 
our best friends, and they should receive from us the best we 
have, and in our best manner. 

IN BUSINESS LIFE. 

Other things being equal, a man will succeed in businesK 
largely as he can address himself upon his wares, be they 
mechanical, physical, mental or moral. 

He will succeed through the capability of winning atten- 
tion to his business. 

The same power which gives influence in the social sphere, 
will attract to our business operations. 

Character of tone and dignity of manner will reflect re- 
liability upon our vocation or profession. 

IN PUBLIC LIFE. 

It will enable us to give accuracy and fulness of meaning 
to our words, and to convey the spirit of the thought to the 
hearer. 

Words are but the dead forms of thought. The human 
voice may breathe into them the breath of life and make 
them living influences. 

Elocution will give that culture by which we may please 
ihe eye and the ear, so that our words shall be presented 
favorably to the judgment. It will also add that force and 
dignity to expression, and that confidence of manner which 
will command the multitude. 

A single sentence may be the exponent of years of study 
and experience, and it is possible only by the most careful, 
practice in the art of expr^sion to pronounco such a aery 
tence with corresponding effect. 



^as^EB&j^xsmu 



CONVERSATION. 



Conversation is the simplest and most common form of 
bmnan expression. 

It contains the germs of all speech and action, and therefore 
constitutes the basis of oratorical and dramatic delivery. We 
exercise these germs of speech and action most in conver- 
sation ; it is therefore natural that we should here form our 
most permanent habits of expression. 

These habits will control, not only our conversation, but, aa 
hereafter shown, they will, in a great degree, affect our 
reading a.nd public address. 

The importance, therefore, of acquiring in the common 
intercourse of life, correct habits of voice and manner cannot 
be overestimated. Hence, the consideration, first, of 



CONVERSATION FOR ITS OWN SAKE. 

No higher art is possible to man than the art of transmit* 
ting, naturally and effectively, in common intercourse, th© 
sentiments and feelings of which he is capable. 

This art includes chaste and appropriate language, and 
grace and variety of tnanner, as well as the purity and adap- 
tation oi speech. It is, however, only the latter phase of the 



'34 PRACTICAL H.OCUTION. 

subject that will concern us in this treatment, namelj, corred 
speech. To this end, the student should Becure the criticism 
of the ear upon his own and others' Conversation, by atten- 
tion — 

a. TO THE VOICE. 

b. TO THE ARTICULATIOir. 
C. TO THE EXPRESSION. 

Voice. — The Voice should be natural, pure, a,nd /uU. 

Note.— The long vowel sounds, marked "Naturally," as glren in th« table 
of " Vocal Exercises," and such Conversational Sentences as are here given, 
should be carefully practiced. 

Articulation. — The Articulation should be correct and distinct. 

NoTB. — Master the table of Elementary Sounds and practice the various 
accompanying exercises. 

Expression. — The Expression should be adapted to the senti- 
ment. 

Note.— The intelligent student will readily discover some of the leading 
relations of sound to sense; such, for instance, as that of gayety, solemnity, 
pathos, &c. Attention to these in practice, will lead to the discovery of other 
and closer relations, until every sentiment will suggest, promptly, its corres- 
ponding tone. 

SuMaiARY. — Voice, Articulation, and Expression, as her© 
defined, maj^ be termed the a, b, c of speech. 

SUGGESTION TO STUDENTS. 

Every observing student will be able to detect errors with 
reference to the several points here named. His ear will be 
sufficiently critical to distinguish one or more of the many 
faults common to conversational voice. He will also detect 
aluggishness of articulation and the habitual use of incorrect 
sounds. He will perceive, to some degree, or in some particu- 
lar, a want of adaptation to the sentiment expressed. In 
other words, his knowledge is beyond his practice, and no 
more important counsel can be given upon this subject than 
the following: 



CONVERSATIONAL EXERCISES. 

1. Listen to your conversation with reference to the several 
elements named. 

2. Correct, in conversation, that which you know to be 
faulty. 

3. Allow no occasion to be so unimportant as to admit oj 
loose or incorre<:i speech. 

By this practice, the ear will observe the speech of those 
more correct than yourself, and will lead j^'ou to discover more 
and more closely your habitual faults, and thus to elevate 
and purify your conversation. 

CONVERSATIONAL EXERCISES. 

These exercises represent a broad variety of conversational 
styles and should be carefully practiced with reference to the 
voice, the articulation and the expression, according to 
the preceding treatment. 

1. '* Good morning, Mr. Jones, I am glad to see you. When 
did you arrive in the city ? " 

" I came in by the last train." 

" I hope you left your family well." 

"Very well, thank you." 

" You will call upon us before you go back ? " 

"I will, thank you." 

" Good morning, sir." 

" Good morning." 

2. Is John at home? 
Is your father well? 
When will you go ? 
What is your name ? 
What time have you? 

Did you arrive by the night train ? 

Have you to-day's paper ? 

What is the news? 

Did you see our mutual friend, Mr. Wilson ? 

Have you been well? You look ill. 

Note.— The practice of questions, sucli as these, will be found of great ad- 
vantage in gainiag natural expression. They should be Taried in emph«sl» and 
inflection. 



PRACTICAL ELOCUTION. 

3. We have demonstrations enough, fortunately, to shorr 
that truth alone is not sufficient; for truth is the arrow, but 
man is the bow that sends it home. There be many men 
who are the Ught of the pulpit, whose thought is profound, 
whose learning is universal, but whose offices are unspeakably 
dull. They do make known the truth, but without fervor, 
without grace, without beauty, without inspiration ; and 
discourse upon discourse would fitly be called the funeral oj 
important subjects! — Henry Ward Beecher. 



4. And he said, A certain man had two sons : and the 
younger of them said to his father, Father, give me the por- 
tion of goods that falleth to me. And he divided unto them 
his living. And not many days after, the younger son gathered 
all together, and took his journey into a far country, a»d 
there wasted his substance with riotous living. And when 
he had spent all, there arose a mighty famine in that land; 
and he began to be in want. — Luke xv : 11-14. 



6. Hannlet. Hold you the watch to-night? 

All. We do, my lo»rd. 

Ham. Aim'd, say you ? 

All. Arm'd, my lord. 

Ham. From top to toe? 

All. My lord, fi*om head to foot. 

Ham. Then saw you not his face ? 

Hor. O, yes, my lord ; he wore his beaver up. 

Ham. What, look'd he fi*owningly ? 

Hor. A countenance more 

in sorrow than in anger. 

Ham. Pale, or red ? 

Hor. Nay, very pale. 

Ham. ' And fix'd his eyes upon you 7 

Hor. Most constantly. 

Ham. I would, I had been there. 

Hor. It would have much amaz'd you. 

Ham. Very like. 

Very like: Stay'd it long? 

Hor. T\niile one with moderate haste might tell a hundred 

Ham. His beard was grizzl'd? no? 

Hor. It was, as I have seen it in his life, a sable-silver'd. 

Ham. I will watch to-night: 

I^erchance, 'twill walk again. — Shakespeare. 



CONTERSATIONAL EXERaSEg. !2l 

6. " It T/on't do to let John see me in this position," I said ; 
and so, with a mighty effort, I disengaged myself from the 
pack, flung off the blanket from around my neck, and seizing 
hold of a spruce limb, which I could fortunately reach, di'ew 
myself slowly up. I had just time to jerk the nfle out of the 
mud, and fish up about half of the trout, when John came 
struggling along." 

"John," said I, leaning unconcernedly against a tree, as if 
nothing had happened, — " John, put down the boat, here's a 
splendid spot to rest." 

" Well, Mr. Murray," queried John, as he emerged from; 
under the boat, " how are you getting along ? " 

" Capitally ! " said I ; " the carry is very level when you 
once get down to it. I felt a little out of breath, and I 
thought I would wait for you a few moments." 

"What's your boots doing up there in that tree?" ex- 
claimed John, as he pointed up to where they hung dangling 
from the limb, about fifteen feet above our heads. 

"Boots doing!" said I, "why, they are hanging there, 
don't you see? You did'nt suppose I'd drop them into this 
mud, did you ? " 

"Wliy, no," replied John, "I don't suppose you would; 
but how about this? "continued he, as he stooped down and 
pulled a big trout, tail foremost, out of the soft muck ; " how 
did that trout come there? " 

" It must have got out of the pail somehow," I responded. 
" I thought I heard something drop just as I sat down." 

I thought John would split with laughter, but my time 
came, for as in one of his paroxysms he turned partly 
around, I saw that his back was covered with mud clear up 
to his hat. 

" Do you alw^ays sit down on your coat, John," I inquired, 
"when you cross a carry like this?" — W. H. H. Mwrray. 



7. Now the laughing, jolly Spring began to shew her 
buxom face in the bright morning. The buds began slowly to 
expand their close winter folds, the dark and melancholy 
woods to assume an almost imperceptible purple tint; and 
here and tiiere a little chirping bluebird hopped about the 
orchards. Strips of fresh green appeared along the brooks, 
now released from their icy fetters ; and nests of little varie- 
gated flowers, nameless, yet richly deserving a name, sprang 
up in the sheltered recesses of the leafless woods. 



m PRAOnOAL BLOOUTIOMT. 

8. I cannot vouch my tale is true, 
Nor say, indeed, 'tis wholly new ; 
But true or false, or new or old, 
I think you'll find it fairly told. 
A Frenchman, who had ne'er befor* 
Set foot upon a foreign shore, 
Weary of home, resolved to go 
And see what Holland had to show. 
He didn't know a word of Dutch, 
But that could hardly grieve him much ; 
He thought, as Frenchmen always do, 
That all the world could " parley-voo." — /. G. Seme. 

9. I know, the more one sickens, the worse at ease he is ; 
and that he that wants money, means, and content, is without 
three good friends ; that the property of rain is to wet, and 
fire to burn ; that good pasture makes fat sheep, and that a 
great cause of the night is lack of the sun ; that he that 
hath learned no wit by nature or art may complain of good 
breeding, or comes of a very dull kindred. — Shalcespeare. 

10. *•' And the Lord God formed man of the dust of the 
ground, and breathed into his nostrils the breath of life, and 
the man became a living soul." How wonderful is breath I 
It comes to us in the soft summer morning laden with the 
perfume of flowers ; but ere it reaches us it has kissed a thou- 
sand scented leaves. The birds soar aloft in this mysterious 
ether, pouring their triumphal songs on its resonant bosom ; 
and the butterfly and buzzing insect, ''like winged flowers 
and flying gems," sparkle and shimmer in their dazzlmg 
beauty. 

But, whether it brings upon its waves the mutterings of the 
coming storm, or the merry, ringing laugh of childhood — the 
awful booming of the heavy cannonade, or the silvery tones 
of the violin — it is air, such as we breathe. Oh ! then let it 
become a thing of joy to us. Let us learn to make it a thing 
of beauty, wreathing embodied thoughts in vocal gems of 
purity and sweetness, that shall gladden the ears of all who 
listen. — Bronson. 

11. External heat and cold had little influence on 
Scrooge. No warmth could warm, nor wintry weather chill 
him. No wind that blew was bitterer than he, no falling 
snow was more intent upon its purpose, no pelting rain less 
open to entreaty. Foul weather didn't know where to have 



CCe^EESATiONAL EXERCISES. 



him. The heaviest rain, and snow, and hail, and sleet, could 
boast of the advantage over him in only one respect. They 
often " came down " handsomely, and Scrooge never did.—' 
Dick&ns. 



12. Oh, tell me, where did Katy live ? 

And -what did Katy do ? 
And was she very fair and young, 

And yet so wicked, too ? 
Did Katy love a naughty man. 

Or kiss more cheeks than one ? 
I warrant Katy did no more 

Than many a Kate has done. — 0. W. Hohnat, 



13. "And when the middle of the afternoon came, from 
being a poor poverty-stricken boy in the morning, Tom 
Sawyer was literally rolling in wealth. He had, beside the 
things before mentioned, twelve marbles, part of a jew's-harp, 
a piece of blue-bottle glass, to look through, a spool cannon, a 
key that wouldn't unlock anything, a fragment of chalk, a 
glass-stopper of a decanter, a tin soldier, a couple of tadpoles, 
six fire-crackers, a kitten with only one eye, a brass door- 
knob, a dog-collai -but no dog, the handle of a knife, four 
pieces of orange-peel, and a dilapidated old window-sash."— 
Mark Twain. 



14 . Fill thou each hour with what will last ; 
Buy up the moments as they go ; 
The life above, when this is past, 
Is the ripe fruit of life below. 



For further practice, use exercises under Simple Pure 
Qualit Jf, Medium Pitch, Medium Force and Medium Rate. 

For selections adapted to Conversational Reading, see 
Elocutionist's Annual, IS^o. 1, pages 49, 82 and 101; ]No. ^ 
pages 66 and 152; No. 3, page 42 ; No. 5, page 34. 



to nmcnCAL ELOCUTION. 



CONVERSATION IN ITS RELATION TO READING. 



a. ANALOGY. 

With reference to Expression, Conversation may be defined 
the utterance of our own thoughts in our own words, to one 
or a few individuals. 

Reading is the utterance of the author's thought in the 
author's words, to one or many individuals. 

We use, in Conversation, the same voice or material, and 
the same forms of sound, and call into exercise the same 
thoughts, feelings and passions as in Reading. 

The Cultivation of these powers for Conversation will give 
them cultivation for Reading, and inasmuch as we converse 
more than we read, it is at once apparent that we have in 
Conversation the greater opportunity for their cultivation. 

6. DISTINCTION. 

The distinction between Conversation and Reading is two 
told. 

First. — Reading carries us beyond the province of Conversation^ 
whe'fi it is addressed to a large collection of persons. This dis- 
tinction involves the same consideration as the distinction 
between Conversation and Public Address, and will be treated 
under the next head. 

Second. — The Second distinction is found in the mechanical 
difficvMy of expressing the auUhor's language as naturally as we. 
do owr ovm. We have observed that Conversation is the 
expression of thought in our own words. These words being 
chosen from our common vocabulary, are familiar to the 
organs of speech, and are, therefore, uttered without labored 
effort. 

The same is true of conversational constructions. Such 
aonstructions are used as have become habitual to the 



OOirVEEfiATION IN IT8 RELATION TO HEADING. 51 

speaker, and the mechanical labor of their utterance h 
avoided. In Reading, words and constructions are often 
foreign to the habit of the speaker, and their expression must 
nec^sarily manifest, at first, the mechanism of their utter- 
ance. It is, therefore, necessary, in Reading, to give that 
practice to the language which will render the utterance as 
familiar as that of our common Conversation. 

Note. — From the above, it is proper to observe that skill iu reading at sight 
can be acquired only by the habitual use of the words in common usage, and by 
familiarity with the various styles of written language. This suggests the im- 
portance of a broad vocabulary in familiar speech and of much reading aloud 
from writers of good style. 

C. MODELS. 

It has been shown in the above discussion, that when the 
aiUhor's language has become as familiar as our own there will 
exist a perfect analogy between Conversation and Reading. 
It has also been previously shown that Conversation is the 
original and natural source of all true expression. We will, 
therefore, find in correct and natural Conversation the 
truest and purest models from which to copy in our Reading. 

As the landscape or forest will furnish the painter original 
models for his art, so will Conversation furnish original 
models of sentiment, emotion and passion for the Reader's 
art. In reading, therefore, we should express the language of th^ 
author as we would utter the same language under the sa/me cir» 
eumstances in pure eorwersation, 

NoTK 1.— In Impersonation, the Reader will necessarily depart from th« baida 
Df his own Conversation to the imUaMon of the character impersonated. 

Note 2.— Intelligent Reading presupposes that the Reader comprehe/nd th« 
thought, and that in its escpression he sympathize with the author's meaning; 
t^ese re^airMuents prea«de the expression of language under all cireuzxtftancws. 



8fi PRACTICAL ELOCUlKWr; 



CONVERSATION IN ITS RELATION TO PUBLIC ADDRESS. 



a. ANALOGY. 

Read carefully the corresponding discussion under the 
previous topic ; it has the same force and bearing in th« 
treatment of this division of the subject. 

h. DISTINCTION. 

Conversation and Public Address both concern the oon- 
veyance of thought to the individual. 

The distinction consists only in the greater accuracy and 
iTitensity necessary in Public Address to overcome the ob- 
stacles of number and space. 

This refers to the distinction between the delivery of the 
same sentence before the multitude, and its delivery to a 
single individual. Passages, differing in sentiment, will bt 
expressed differently in Conversation, and will preserve a cor- 
responding difference if delivered publicly. , 

ILLUSTRATION. 

European guides know about enough English to tangle 
everything up, so that a man can make neither head nor 
tail of it. They know their story by heart, — the history of 
every statue, painting, cathedral or other wonder they show 
you. They know it and tell it as a parrot would, — and if 
vou interrupt and throw them off the track, they have to go 
Dack an^ begin over again. All their lives long they are 
employed in showing strange things to foreigners and listen- 
ing to their bursts of admiration.— ** /Tinocen^* Abroad" — 
Mark Twain. 

England may as well dam up the waters of the Nile with 
bulrushes as to"^ fetter the step of Freedom, more proud and 
firm in this youthful land than where she treads the leques- 



oomrassATioN in rm delation to public addeess. M 

tared glens of Scotland, or couches herself among the mag- 
nific«nt mouHtain* of Switzerland. — Speech of James Oti$, 



But this Tery day, an honest man, my neighbor— there 
he stands — ^was struck — struck like a dog, by one who wore 
the badge of Ursini, because, forsooth, he tossed not high 
his ready cap in air, nor lifted up his voice in servile shoutSe 
at sight of that great ruffian ! — Rienzi to the Roman$. 



We have here three sentences differing widely in charaotfts 
and demanding different forms of expression ; the difference, 
however, exists in the sentences themselves — the first bein^f 
simply conversational, the second bold and oratorical^ the 
third impassioned and dramatic. 

This difference will manifest itself in their utterance in 
^miliar discourse, where the key to th&ir individual expression 
will be found. Their delivery before the audience will in- 
Yolve no other distinction than that of increased accuracy 
and intensity. In each case the Conversational form, peculiar 
to th<3 sentence, should be carefully preserved. 

As the picture thrown upon the screen is preserved in 
form, but magnified in all its proportions, so in public 
speech, care should be exercised to preserve the natural or 
conversational form, while, in due proportion of voice and 
jwanner, there is added earnestness and intensity. 

KoTB.— Every student should make himself fkixixiliar with the following : 

Guide to Public Address. — The manner of expression by 
which I may convey a thought most impressively to a single 
individtial, will best convey it to two ; the only change dic- 
tated by nature or reason being such simple change as the 
alternation of the eye from one to the other. The same 
manner of expression will best convey the same thought to a 
dozen, with the necessary change in intensity of voice and 
gesture; this individual basis will famish the most impres- 
sxv© form for th« utterance of the same sentiment to a 



34 PRACJTICAL SLOCfUTIOIf. 

thcu9and, supplemented by a power of voice and earnest- 
ness of gesture adapted to the Tvwmber and the »pace. 

Remarks. — Audiences are made up of individual 80ul«, 
not one of which loses ite individual character because in 
juxtaposition with another. The soul of an audience can only 
be reached by reaching the indimdvxil souls that compose it. 
An individual being addressed, each person regards himself 
the individual, and accordingly appropriates the thought; and 
each having received the thought, all have received it. We 
submit that there is no one fault among public speakers 
more common, or one more baneful than the habit of 
addressing a mass of individuals as if their souls had also 
massed, and that, therefore, they must resort to some unnat- 
ural and monstrous means of access to it. 

C. MODELS. 

Conversation being the source of all true expression, it 
toust be at once apparent that we shall here find our highest 
models for Public Speech, needing only enlargement accord- 
ing to the demand. Pure, chaste Conversation is at once 
the highest Oratory, and true Oratory should be so lost in pure 
fiimplicity that it shall be but noble Conversation. 



GENERAL SUMMARY OF CONVERSATION. 

Conversation is natural communication to the individual. 
All speech is natural communication to the individual; 
therefore all speech is Conversation. Reading and Public 
Address are but modified forms of Conversation, and are so 
closely allied to it that excellence in Conversation will se* 
9ure excellence in Rea/ding and Public Address. 



PRINCIPLES. 



it ha* b«n f hown that the germs of Elocution are found 
native in pure Conversation. Principles will concern the 
processes of their growth and development. These germs 
lure found in Speech and Gesture, which are the two freal 
jnediums of communication. 

SPEECH. 

Speech is the most direct and the most important irmtra- 
ment for the conveyance of thought. By it men are put io 
possession of the thoughts and experiences of their fellow- 
men, so that the development of mind itself may be said to 
depend greatly upon Speech, 

The organs uniting in its production are the vocal organs 
for voice, the organs of speech for articulation, and the iTttel- 
lectuaX and emotional fa/yulties for expression. Hence the 
subdivisions — Voice, Articulation, Expression. 

NOTB. — ^Th© term organs of speech, as applied here, is used in its teohnieaa 
sense, aud incladM, prominently, tb« lips, toujnuB, teath« palaU and ma<«] 



VOICE. 

Voice is the principal ma4)erial of which 8p«ech is made. 
Its cultivation is closely related to the whole subject of 
Elocution, and therefor© claims the most careful attention 
of the student. 

Th« cultivation of the Voice will ddpend upon judicious 

86 



^6 PRACTICAL EtOCUTlOK. 

exercise, in hArmony with the natural law of human d» 

velopment. 

Intelligent investigation and broad experience have eatab- 
liflhed the fact that voice is the product of a physical 
mechanism, as well-defined as the muscles of the arm or the 
tissue of the brain, and that its development follows a law of 
our being, as simple and as natural as that by which the 
arm moves or the brain thinks. 

It is, however, worthy of observation that the voice does 
not ordinarily receive power or culture, even from the 
most constant exercise, but it does not follow that it therefore 
departs from the recognized law of development, but rather 
that the customary habits of its use are unwise, mistaken, 
and founded in ignorance of its structure. The operations 
of the vocal instrument are so subtle and the liability to false 
practice so great, that it becomes a matter of primary impor- 
tance that the student be directed to its use in his earliest 
exercises. To this end voice is here presented, in its theory 
and practice^ under the two heads, Philosophy of Voice and 
Utterance. 

PHILOSOPHY OF VOICE. 

Philosophy of Voice concerns the structure of the instrument, 
its use, and its management, and therefore includes its anatomy, 
physiology and hygiene. 

Voice is the result of the vibratory motion produced by 
the action of breath upon the vocal cords. The parts imme- 
diately involved are therefore the Organs of Eespiration and 
the Vocal Cords. 

The lungs may be properly regarded aa the centre of th« 
Respiratory System. They are the great reservoirs, where the 
motive power of the Voice is concentrated. 

Directly beneath and immediately connected with the 
lungs is the diaphragm, or movable wall of muscular partition 
between the cavity of the chest and the cavity of the abdo- 
men. This, together with the abdominal muscles, which 
jtontrol its movements, may bq compared to the handle of 



PKNCTPLEa— UTTERANCE. %7 

A bellows, of which the lungs constitute the l>ody. The 
application of power to these muscles, either in the act 
of breathing or speaking, is immediately communicated 
to the lungs, causing the escape of air, or exJmlation. The 
corresponding inhalation is controlled by the relg^xation of 
these muscles and the consequent depression of the dia- 
phragm. Their proper action constitutes the primary power 
of respiration, and therefore bears an important relation to 
the production of tone. 

Above the lungs, and connected with them by the trachea 
or windpipe, is that wonderful conformation of cartilages 
muscles and ligaments, known as the Larynx, in which are 
located the Vocal Cords, whence all tone or voice immediately 
proceeds. 

The Vocal Cords consist of two slight, elastic bands, situated 
in the larynx a short distance above its juncture with the 
trachea, and immediately below its outward projection, 
known as the "Adam's apple." These bands adhere so 
closely to the walls of the throat as to be scarcely distin- 
guishable by the aid of the laryngoscope ; but in the act of 
voice production they are thrown forward into the current 
of air escaping from the lungs, and the thin membrane^ 
covering their surface is thus excited to rapid vibration, 
which, receiving resonance and volume from the cavity ot 
the chest and from the mouth, escapes from the lip» a per* 
feet creation — voice. 



UUERANCE. 

From the preceding brief explanation, it will be easily 
understood that the parts of the system involved in the pro- 
duction of voice are, in the order of their use, the Abdomi- 
nal Muscles, the Lungs, and the Vocal Cords. The cavity of 
the mouth also contributes much to the purity and richness 
of the tone. These several parts exist in every perfect 
organization, and may be termed the muscular impiemeats 
of the human Toioe^ 



88 KlACriCAL ELOCUTIOW. 

Utterance is the technical term given to all loundB emana. 
ting from this vocal instrument, whether whispered or vocalj 
and is the result of the opposition offered to the escape of 
the air-current, by the projection of the vocal cords across 
the trachea. Utterance, therefore, implies such an applica- 
tion of breath upon the vocal cords, and such control of 
them, as to produce sound or voice. It may be regarded 
simply as practical voice-production, and will he treated 
with reference to its development and its quality. 



DEVELOPMENL 

A well-developed voice imparts force and dignity to every 
relation of life. It is the first step toward culture in the art 
of Elocution. The distinctive aim in vocal development is 
to secure that purity, power and JiexibiMty which must unite 
to give character to the voice. 

Rapid and healthful development will depend upon correct 
breathing, combined with judicious, systematic and vigorou* 
vocal and physical exercise. 



BREATHING. 

Eespiration or breathing is defined as the process by which 
air is taken into the lungs and expelled from them. \t is 
the motive power of the voice. The following s««ms a 
natural order of treatment : 

a. What we breathe. 

5. Why we breathe, 

c. How we breathe. 

d. Breathing exercises. 

Wlicd toe breathe. — Health, happiness and existence itself 
depend upon the quality of air we breathe. Fur© air alone 
can promote natural activity and buoyancy in the physi^3«f 



Why we breathe. — ^We breathe to flupply the system with 
oxygen ; to releave the body of waste and useless matter, and 
/or the purposes of speech — breathing being the great agent ol 
numan utterance. Respiration also proTuotes the heaUhy devel- 
opment of the parts by which it is carried on. The intercostal 
muscles are afforded exercise by breathing; the lungs are 
rendered capacious and flexible ; the muscles of the waist 
and back are strengthened, and the whole body is given 
added symmetry and comeliness. 

How we breathe. — Healthful respiration is carried on through 
the nostrils. This is illustrated, notably, in the breathing of 
animals, savages, and healthy children. The throat and lungsi 
are thus protected from the impurities and severity of the 
atmosphere, either of which tend* to produce irritation and 
disease. 

By the habit of deep and fuU inspiration. Every part within 
the whole range of the respiratoiy system should be ex- 
erted with each successive breath. Exercise is a condition 
of health and strength as absolute as food or air itself. 
Failmg for a time to exercise any part of this marvellous 
organism, we have weakened the part in proportion to the 
time it haa been inactive. Weakness begets weakness and 
diminished lung power will impair both the quality and the 
pewer of tho Toice. 

EXERCISES IN BREA THING. 

1. Chest Breathing. — Relax the muscles of the chest. Take 
A full inspiration and expand the chest to its fullest capacity. 
<jive out the breath gradually. 

2. Coital BreatMng. — Distend the sides while inhaling and 
relax gradually with slow and regular exhalation. 

8. Waist BreaiJdng. — Inhale with the view of expanding 
the entird circle of the waist. 

4. Dorsal BreatMng, — lulxal© as if endeavoring to thrust 
©at t^e muscles of the back by th® fore© of th® air. 

5, Ahdormnal ^rea^Mi^.— Breathe deeply, forcing the 



'0 I»RAOTICAli ELOCUTION. 

abdominal muscles outward. Let them iink ae much atj 
possible during exhalation. 

6. Full Breathing. — Inhale slowly and exercise the will 
upon all parts of the body, simultaneously. This may b© 
regarded a union of all the previous exercises, and is but an. 
intensified form of what should be the natural habit of 
breathing. 

7. Prolonged Breathirig. — Prolong the exercise of Full 
Breathing. 

8. Effusive Breathing. — Inhale naturally. Give out the 
breath in the sound of the letter A, as gently and gradually 
as possible. 

9. Expulsive Breathing. — Inhale as in Full Breathing and 
expel the air forcibly but gradually upon the sound of the 
letter h. 

10. Explosive Breathing. — Take full breath, expel suddenly 
and with force in a whispered utterance of the word Ha. 

Note 1. — An active position should be observed in the above exercises, the 
body carefully erect, arms akimbo, and fingers bearing upon the abdominal 
muscles, except as they may be changed to the part upon which the exercise is 
directed. 

Note 2.— These exercise* should be used with as much caution and regularity 
fts any other gymnastic exercise. They should be commenced gradually and 
discontinued if any sensetion of dizziness is experienced. It will be observed 
that the series is progressive in its character, giving it special advantage to 
persons not accustomed to habits of fall breathing, and to iuvalids. 



VOCAL EXERCISES. 

The following table of Vocal Exerci&es ia designed to rep- 
resent the principal forms v/hich the voice assumes in 
response to the various classes of sentiment and passion. 
Let it be understood, however, tliat these forms are ever 
changing in degree and direction. Nature rarely repeats 
herself with mathematical exactness. The leaves of th© tree 
are of a kind, but not alike. Members of a family frequently 
resemble one another, but never is the likeness of one ex- 
actly reproduced in another. So the countenance of a person 



PRINCIPLES— VOCAL EXBRCIBES. 41 

not only changes under different impressions and emotions, 
but an impression repeated will rarely repeat itself exactly 
upon the countenance. 

No arbitrary form for the voice is therefore suggested by 
these characters, but if disciplined to produce readily, and 
in pure quality, the several forms here suggested, it will 
respond naturally to corresponding sentiments and emotions. 
They should be pra,cticed until the speaker can produce 
them easily and confidently in any order and in any degree. 
This done, they will then take their place in speech, without 
effort, as promptly as the countenance will lighten in the 
presence of an unexpected friend, or darken at sudden dis- 
appointment or sorrow. 



TABLE OF VOCAL EXERCISES. 

l«ASIOir • # • • • :R'aturall7. 

2. A K I O U • • • • ® With Full For««. 



r A E I O U i 



Alternating High 
and XjOW. 



4. A B! I O IT ' " ■ ' — ■ " ' EflPusiTeljj 

5. A E I O IT l^^mwnx— -^ lixpulsivAly. 

6. AEXOXJ ■ B B ■ B Explosively. 

7. A B I O 17 ^"^^flH^^^ "^^^^ SwalL 

S. A :hi T O U BHHHBBBHHBH 'With Sustained Ftno^ 

9. A E 1 O IT "' With Tr«mor. 

;.0. A 11 X O IT ^ ^^^ ^ With Full Bre»thin^ 



P1JL032CAL ELoomnoir. 
EXPLANATm OF THE PRECEDING TABLE. 

1. Natural. — Place the organs of speech in correct poei 
Jon for the sound to be uttered. The yocal cords will 
take their place without any conscious act. The natural 
flow of the air in exhalation will produce the purest tone of 
which the organs are capable, and in the simplest manner. 
The correct use of the breath will be determined by a slight 
depression of the abdominal muscles and the barely con- 
scious stroke of the diaphragm upon the lower part of the 
lungs. To produce a pure tone, the lower jaw should b© 
slightly projected, the throat well opened. This will be 
shown by a greater fullne«s in the outer muscle. 

The greatest ccure should he observed in this exercise, inasmuch 
as fuiure vocaJieaiion wUl depend wpon the correctness of these 
natural sounds. 

2. With Full Force. — Apply the abdominal muscles with 
full force upon the diaphragm, so that the volume of air 
may be brouglvt to bear with great power upon the vocal 
cords. This action should not be abrupt or violent, but firm 
and decisive. 

3. High and Low. — It is designed here to apply the pre- 
ceding two exercises at dLff^rent points within the natural 
compass of the voice. It is not designed to anticipate the 
more thorough cultivation of pitch as a special modulation. 

4. Effusive. — ^This exercise consists in the pouring forth or 
isffusing of the simplest natural tone. 

5. Expuldve. — With a forcible action of the abdominal 
muiclei and well-expanded chest, strike the tone as in Full 
Force, but let the volume of sound diminish mor« gradually. 

6. Esq)losive. — Strike the diaphragm with violent and 
abrupt action of the abdominal muscles, and aim to produc* 
a bunt of voice which shall fall upon the ear clear and »ud- 
ien. 

7. Wiih Swell. — Beginning with EflPiisive, expand slowly to 
the degree of Full Force, releasing the action as gradually 



rBardPLWh- -VOCAL exerokhs. 

as it wslm begUD. Purity and regularity in the increase &nH. 
decrease of the tone will report the correctness of the physi- 
cal action. 

8. With Sustained Force. — Exert the muscles of the body 
MM in Pull Porce. Hold them firm and steady, terminating 
the tension abruptly. 

9. Tremor. — Prolong the sounds, either in Natural or Full 
Force, making the voice tremulous by a corresponding 
action of the muscles of the chest. 

10. With Full Breathing. — Concentrate the greatest poafli- 
ble force upon a single tone — more violent than in Full 
Force and less abrupt than in Explosive. The utterance 
should be preceded by a full inhalation and then produced 
by such a culmination of power as could not be sustained or 
repeated without renewed breath. 

The student should remember that, in order to obtain the htst 
remits from these exercises, there should he in each a corresponding 
action of the mind. 

In the natural, the thought should be unimpassioned. In 
full force, there should be great purpose in the mind. In 
hiffh and knv, there should be some corresponding mental 
condition of joy or victory in the one, and solemnity or awe 
in the other. The Effusive should be marked by a spirit of 
reflective tenderness; the explosive, by impulsive vehemence; 
the swell, by an expansion of mind and eoul. In sustained force, 
the thought should be sustained with the exercise. In tremor, 
the whole being should at once be possessed with the sense 
of pity, grief, or deep sympathy. In full breathing, ther« 
should be the greatest possible concentration of soul power. 
And in all, from the most natural to the most violent, ther« 
should b© repose and self-posseseion, go that the exercii« 
may b« the result of the b«Bt condition of mind and body. 



KoTB.'— Til* fbilcwlng ©xerciBes skould b« practiced until the stadffit ii^ 
^mxeq^tly asark the dktineiiMis illaetmted in tha foragoing tabl». 



PRACTICAL ELOCUnOir. 



EXAMPLES IN NATURAL 



1. Bern ember now thy Creator in the days of thy youth, 
while the evil days come not, nor the years draw nigh, when 
thou shalt say, I have no pleasure in them ; while the sun, 
or the light, or the moon, or the stars, be not darkened nor 
Ihe clouds return after the rain. — Bible. 



2. The grass is just as green, Tom ; bare-footed boys at 
play 
Were sporting, just as we did then, with spirits just as 

gay- 

But the "master" sleeps upon the hill, which, coated 

o'er with snow, 
Afforded us a sliding-place, some forty years ago. 

8. Prudence, indeed, will dictate, that governments long 
established should not be changed for light and transient 
causes; and accordingly all experience hath shown that 
mankind are more disposed to suffer while evils are suffera- 
ble, than to right themselves by abolishing the forms to 
which they are accustomed. But when a long train of 
abuses and usurpations, pursuing invariably the same object, 
evinces a design to reduce them under absolute despotism, it 
is their right, it is their duty, to throw off such government, 
and to provide new guards for their future security. 

— Declaration of Indejpendenoe. 

4. She thanked me, 

And bade me, if I had a friend that loved her, 
I should but teach him how to tell my story. 
And that would w^oo her. On this hint I spake ; 
She loved me for the dangers I had passed ; 
And I loved her that she did pity them. 
This is tht3 only witchcraft which I've used. 

— Shakapeare, 

5, Merrily swinging on brier and weed, 

Near to the nest of his little dame, 
Over the mountain-side or mead, 

Bobert of Lincoln is telling his name. 

f^William Qidlen Bryant. 



- PBINCIPLiaS—VOCAIi KKEECIS2S. 

Tot additional examples of Natural, use selections &f «im* 
^*Ie narrative and plain description. 

EXAMPLES m FULL FORGE, 

1. Meantime, the tramp, tramp, tramp, sounds on, — fhe 
jramp of sixty thousand yearly victims. Some are besotted 
and stupid, some are wild" with hilarity, and dance along the 
dusty way, some reel alon^ in pitiful weakness, some wreak 
their mad and murderous impulses on the helpless women 
and children whose destinies are united to theirs, some go 
bound in chains from which they seek in vain to ^Tench 
their bleeding wrists, and all are poisoned in body and soul, 
And all are doomed to death. — J. G. Holland. 

2. Build me straight, O worthy Master ! 

Staunch p-nd strong, a goodly vessel, 
That shall laugh at all disaster, 

And with wave and whirlwind wrestle ! 

— JT. W. Longfellow, 

8. He stood, and measured the earth: he beheld and 
drove asunder the nations ; and the everlasting mountain* 
were scattered, the perpetual hills did bow : his ways are 
(Sverlasting. — Bible. 

4, From hill to hill the mandate flew, 
From lake to lake the tempest grew, 

With wakening swell, 
Till proud oppression crouched for shame. 
And Austria's haughtiness grew tame ; 
And Freedom's watchword was the name 

Of Wilham Tell. 

5. And, sir, where American liberty raised its first voice, 
and where its youth was nurtured and sustained, there it still 
lives, in the strength of its manhood, and full of its original 
spirit* If discord and disunion shall wound it — if party 
jii-rife and blii:id ambition shall hawk at and tear it ; if folly 
and madness, if uneasiness under salutary and necessary re- 
straint, shall succeed to separate it from that Union by which 
alone its existence is made sure, it will stand, in the end, by 
the side of that cradle in which its infancy was rocked ; and 



46 PRACTICAL ELOOUnOW. 

it will fall at last, if fall it must, amid the proudest moan* 
jaaenLi of ita own glory, and on the very spot of its origin. 

— Webster. 

For selectioni containing S/dditional examples of Full 
Force, see Elocutionist's Annual, No. 1, page 107 ; No. 2^ 
page 17 ; No. 5, page 92. 



EXAMPLES IN HIGH AND LOW. 



** Make way for liberty ! " he cried, 

Then ran, with arms extended wide, 

Am if hi« dearest friend to cla«p ; 

Ten epeara he swept within his graap. 
•* Make way for liberty I " he criea ; 

Their keen points croseed from side to side^ 

He bowed among them like a tree, 

And^thua made way for liberty. 

— Jamne* MotUge /iMry. 

Eternity! — thou pleasing^, — dreadful thought I 
Throu^ what variety o? untri(3d being. 
Through what new scenes and changes must fe paM; 
The wide, the unbounded prospect lies befor«> me ; 
But shadows, clouds, and aarknees, rest upon it. 

— jLddittm, 

" John Maynard," with an anxiou» Toicf^ 

Th© captain cries once more, 
" Stand by the wheel five minutes yet, 

And we will reach the shore." 



4, *Titi now the very witching time of night ; 

When churchyards yawn, and hell itself breatnes out 
Contagion to this world. — Shakspeare. 

h. liberty ! Freedom ! Tyranny is dead f — 

Bon hcnoe, proclaim, cry it about the streets. ^ 

— Shak^peare, 

6. We sp«ad our years like a tal« tkat is told. Th« days 



PKINCIPLES — VOCAL EXERCISES. 47 

of our years are three-score years and ten ; and if by reason 
of strength they be four-score yeai^, yet is their strength 
labor and soitow ; for it is soon cut off, and we fly away. 

—Bible. 

7. He conquers the current, he gains on the iea, — 
Ho, where is the swimmer like Charlie Machree. 

— Williamn J. Hoppm. 

8. Not a word, not a wail from a Up was let fall, 
Not a kiss from m}^ bride, not a look or low call 
Of love-note or courage, but on o'er the plain 
So steady and still, leaning low to the mane, 

Eode we on, rode we three, rode we nose and grey no««, 
Beaching long, breathing loud, like a creviced wind 

blows ; 
Yet we broke not a whisper, we breathed not a prayer. 
There was work to be done, there was death in the air. 

— Joaqmn MUkr, 

9. Hushed the people's swelling murmur, 

Whilst the boy cries Joyously ; 
" Ring ! " he shouts, " E-mg ! grandpapa, 
Ring! oh, ring for Liberty ! " 

10. " Ho ! a sail ! Ho ! a sail I " cried a man at the Iwi, 
"Hoi a sail!" and they turned their glad eyo« o'«r 

the sea. 
" They see us, they see us, the signal is waved ! 
They bear down upon us, they bear down upon u« : 
Huzza! we are saved." 

For selections containing additional examples of High and 
Low, see Elocutionist's Annual, No. 2, page 68 ; No. 1, pc^ 
•7 ; No. 8, page 31 ; No. 5, pag« 44. 



EXAMPLES IN EFFUSIVE. 

Ail in the wild March-morning, I heard the angels oftll; 
It was when the moon was setting, and th® dark was 

over all ; 
The trees began to whisper, and the wind began to roll, 
And in the wild March-m,oming I haajrd th^ca ©all my 

soul.— Tmm^on. 



PRACTICAL ELOCUTICf¥. 

2. All day they flew, and all night they flew and flew, tlH 
they found a land where there was no winter — where there 
w^« summer all the time ; v/here flowers always blossom^, and 
birds alwa}'s sing. — Henry Vf'ard Beecher. 

3. Blow, blow, thou winter wind, 

Thou art not so unkind 
, As man's ingratitude ; 

Thy tooth is not so keen, 
Because thou art not seen, 
Although thy breath be rude. 

— Shakspeare, 

4. And he showed me a pure river of water of life, cleai 
918 crystal, proceeding out of the throne of God and of ^e 
Lamb. — Bible. 

5. How often, oh, how often, 

In the days that had gone by, 
I had stood on that bridge at midnight 
And gazed on that wave and sky 1 

How often, oh, how often, 

I had wished that the ebbing tide 

Would bear me away on its bosom 
O'er the ocean wild and wide ! 

—Longfellow : " The Bridge,^ 

6. In a little while the knell for each one of us will cease, 
and we will slumber with our fathers. But with Christian 
faith we can see light even in the darkness of the tomb. 
From above come voices of loved ones calling us heaven- 
ward ; and, listening, we long for the land of golden stre«tft, 
celestial light, and unfading glory. — Edward Brooks^ 

7. And friends, dear friends, when it shall be 
That this low breath is gone from nie. 
And round my bier ye come to weep. 
Let one, most loving of you all, 

Say, " l^^ot a tear must o'er her fall ; 
Hegiveth His beloved sleep." 

— Mrs. Brovmrnff, 

For selections containing additional examples of Effusiv^ 
see Elocutionist's Annual, N'o. 5, page 78 ; Ko. 3, page ^ ; Ncx 
i, pages 139 and 159 ; No. 6, page 83, 



PRINCIPLES— tOCAL EXEKCIS25S, 

EXAMPLES IN EXPULSIVE 



1. But it can not, shall not be; this great woe to our 
beloved country, this catastrophe for the cause of national 
freedom, this grievous calamity for the whole civilized world, 
■it can not be, it shall not be. No, by the glorious Nineteenth of 
April, 1775 ; no, by the precious blood of Bunker Hill, of 
Princeton, of Saratoga, of King's Mountain, of Yorktown ; 
no, by the dear immortal memory of Washington, — that sor- 
row and shame shall never be.— ^. Everett. 

2. And there shall be no night there ; and they need no 
candle, neither light of the sun ; for the Lord God giveth 
them light : and they shall reign for ever and ever. — Bible. 

8. Friends : I come not here to talk. Ye know too well 

The story of our thralldom ; — we are slaves I 
The bright sun rises to his course, and lights 
A race of slaves ! He sets, and his last beam 
Falls on a slave !— if. R. Mitford. 

4. Sink or smm, live or die, survive or perish, I give my 
hand and my heart to this vote ! Sir, before God I believe 
the hour is come. My judgment approves this measure ; 
and my whole heart is in it. All that I have, and all that 
I am, and all that I hope in this life, I am now ready to stake 
upon it ; and I leave off as I began, that, live or die, sur~ 
vive or perish, I am for the declaration. It is my living senti- 
ment, and, by the blessing of God, it shall be my dying senti. 
ment: — Independence iiow, and independence forever! 
— Daniel Webster : John Ada.ms. 

For selections containing additional example of ExpuLdve 
Force, see Elocutionist's Annual, No. 2, page 40 ; No. 6, p<«^ 
109; No. 1, pagea 146 and 156. 



EXAMPLES IM EXPLOSIVE, 



h ** Down I down I " cried Mar, " your lances down ! 
B©ar back both friend and foe I " 



% My fate cries out, 

And makes each petty arteiy in this body 
As hardy a« the Nemean lion's nerve, — 
Btill am I called ; — unhand me, gentlemen :— • 
I say away : — Go on, I'll follow thee. 

— 8haktpcar§m 

S. No 1 thuB I rend the tyrant's chain, 

And fling him back a boy's disdain ! 

— Ann S. Stephens, 

4. The British advance. " Now ui)on the rebels, charg*?* 
shouts the red-coat officer. They spring forward at the sam€ 
bound. Look I their bayonets almost touch the muzzles ol 
their rifles. At this moment the voice of the unknown rider 
was heard : " Now let them have it 1 Fire I " 

— Cha/rUs Sheppard. 

5. Up with your ladders ! Quick I 'tis but a chance ! Be- 
hold, how fast the roaring flames advance I Quick 1 quick I 
hrav© spirits, to his rescue fly; Up I up I men! all! this 
hero must not die ! — Geo. M. Baker, 

For selections containing additional eiamplsf in Expio* 
give, see Elocutionlst'e Annual, No. 1, pag© 107 ; No. 4, page 
60; No. 2, page 91. 



EXAMPLES W SWELL 



1. Oh I Thou Eternal One I whose presence bright 

All space doth occupy — all motion guide ; 
Unchanged through time's all-devastating flight, 
Thou, only, God ! There is no God beaide. 

2. Lord thou hast been our dwelling place in &V. genera* 
tiona. Before the mountains were brought forth, or evei 
thou hadst formed the earth and the world, even fronr 
«verlaBting to everlasting, thou art God. — Bibk. 

3. O lonely tomb in Moab's land I 
O dark Beth-peor's hill ! 
Speak to these curious hearts of ocuajli 
And teach them to be still. 



PElNGlPUBS— VOCAL EXEROBIBS. 51 

God hath his mysteries of grace, — 

Ways that we cannot tell ; 
He hides them deep, like the secret sleep 

Of him he loved so well.— C. F. Aleaxmd^. 

4. "What a piece of work is a man ! How noble in reason ! 
30W infinite in faculties ! in form and moving, how express 
and admirable ! in action, how like an angel ! in apprehen- 
sion, how like a god ! the beauty of the world ! the paragon 
of animals ! — Shakspeare. 

5. And you, ye storms, howl out his greatness ! Let your 
thunders roll like drums in the march of the God of armies ! 
Let your lightnings write his name in fire on the midnight 
darkness ; let the illimitable void of space become one mouth 
for song ; and let the unnavigated ether, through its shore- 
less depths, bear through the infinite remote the name ol 
him whose goodness endureth forever ! — Spurgeon, 

For selections containing additional examples of Swell, «66 
Elocutionist's Annual, No. 6, page 133 ; No. 1, page 125; No, 
2f page 20; No. 5, page 9. 



EXAMPLES IN SUSTAINED^ fORCE. 



1, And lo ! from the assembled crowd, 

There rose a shout prolonged and loud, 

That to the ocean seemed to say,— 

" Take her, O bridegroom, old and gray ; 

Take her to thy protecting arms, 

With all her youth, and all her charms ! " 

H. W. Longfellow, 

S. *• Ho ! sound the tocsin from my tower, and fire the 
culverin ; 
Bid each retainer arm with speed; call every vassal in !" 

■—Alberi G. Greene. 

3. Eing the alarum-bell : — Murder and treason ! 
Banquo, and Donabain ! Malcolm ! awake ' 
Shake off" this downy sleep, death's counterfeit^ 
And look on death itself !— up, up, and »^ 



6® PEACTICAL ELOCUTION. 

The great doom's image — Malcolm ! Banquo ! 

As from your graves rise up, and walk like sprightly 

To countenance this horror 1 

O Banquo ! Banquo ! — Shakspea/re. 

4. And now the martyr is moving in triumphal march, 
mightier than when alive. — H. W. Beecher. 

5. Ye call me chief; and ye do well to call him chief, who, 
for twelve long years, has met upon the arena every shape of 
man or beast the broad empire of Rome could furnish, and 
who never yet lowered his arm. — E. Kellogg, 

For selections containing additional examples of Sustained 
Force, see Elocutionist's Annual, No. 6, page 111; Na 4, 
page 121 ; No. 3, page 93. 



EXAMPLES IN TREMOR, 



1, Farewell ! a long farewell ! to all my greatness. 

— Shakspea/re^ 

% " Can he desert us thus ? He knows I stay, 
Night after night in loneliness, to pray 
For his return — and yet he has no tear \ 
No ! No ! It cannot be I He will be here ! " 

— Coatea, 

S. We buried the old year in silence and sadness. To 
many it brought misfortune and affliction. The wife hath 
given her husband and the husband his wife at its stern be^ 
nest; the father hath consigned to its cold arms the son in 
whom his life centered, and the mother hath torn from hex^ 
bosom her tender babe and buried it and her heart in the 
oold, cold ground. — Edward Brooks. 

4k Vital spark of heavenly flame, 

Quit, O quit this mortal frame ! 
Trembhng, hoping, lingering, flying, 
Oh ! the pain, the bliss of dying ! 
Cease fond Nature, cease thy etrife, 
<^d let cae languish into life I 



PRINCIPLES — ^VOCAL EXEiiCISES. 



5, Save me, God, for the waters are come in unto mv 
80Ui. I sink in deep mire where there is no standing : I 
am come into deep water where the floods overflow me. I 
am weary of ray crying : my throat is dried : mine eyes fail 
iwhile I wait for my God. — Bible. 



For selections containing additional examples of iTremor, 
see Elocutionist's Annual, No. 2, pages 9 and 151 ; No. 6, 
page 14 ; No. 1, page 113. 



EXAMPLES WITH FULL BREATHING, 



!• I listened, but I could not hear — 
I called, for I was wild with fear ; 
I knew ' twas hopeless, but my dread 
"Would not be thus admonished ; — 
I called and thought I heard a sound, 
I burst my chain with one strong bound, 
And rushed to him. — Byron. 

2. Rouse, ye Romans ! rouse, ye slaves ! 

Have ye brave sons ? Look m the next fierce brawt. 
To see them die ! — Mitford. 

8. Here I stand for impeachment or trial ! I dare ac«i- 
sation ! I defy the honorable gentleman ! I defy the gov- 
ernment! I defy their whole phalanx I Let theia oom« 
forth. — QraMan. 



4. Hence: home, you idle creatures, get you fiomei 
You blocks, you stones, you worse than senBoli 
things ! " — Shakspeaire. 



For selections containing additional examples of Pull 
Breathing, see Elocutionist's Annual, No. 6, pag« 21 ; No. 4 
page 124 ; No. 1, page 146, 



54 PKAffncAi. tioocnws, 

GYMNASTICS, 

Physical force and muscular elasticity are indispensable to 
high attainment in vocal development. A vigorous and 
flexible tone can only be produced within a flexible and 
vigorous body. Vigor and flexibility of body are depend- 
ent upon exercise. It is a condition of professional life 
to lack opportunity of such manual labor as will develop 
strength of bi>dy. Even if manual labor were associated 
with intellectual, it would not give that symmetry of form 
and grace of movement so necessary to the speaker. Ex- 
ercises for the cultivation of physical strength and of ease 
in movement, were held in high esteem by the ancients, 
and are latterly receiving a degree of that attention which 
they deserve. 

The following exercises have been selected and adapted 
from Prof. Welch's System of Physical Culture. Such 
exercises have been taken from the different series of Free 
Gymnastics as are believed to be the best aids in the develop- 
taent of strength of voice and grace of action. 

FREE GYMNASTIC EXERCISES. 





FLKST ffKBTES. 














N«.ofstm]M. 


1. 


Hands, . . • 






4 


2. 


Drum-beftt, • • 


• 




2 


3. 


Claps, • . • 






2 


4. 


Body, 


« 




2 


5. 


Head, . , * 






2 


6. 


Dumb-Bell», 


8 




1 


7. 


Clubs, 






1 


8. 


Twisted Thrusts, . 


• 




2 


9. 


Touching floor with Hands, , 






1 


.0. 


Swaying, Swinging^ Arms, 


* 




4 



I^aiSCSCPLBS— OYMNASnOi. 56 





SECOND SERIES. 




1. 


Hand Movements down and up, 


4 


2. 


Hand Movements at Sides, 


4 


3. 


Eaising Arms, 


4 


4. 


Swinging Arms back, 


1 


5 


Eaising Shoulders, 


2 


6. 


Elbows back, . . ' • 


1 


7. 


Thrusting from Arm-pits, 


2 


.8. 


Thrusting from Shoulders, • 


2 


9. 


Mast Movement, 


1 


10. 


Attitudes, . , , 


4 



KOTE 1. Position. — Heels together ; toes out, so that the feet mar form e 
right angle ; head erect ; shoulders and hips drawn back j chest forward ; hanos 
naturally at sides, unless otherwise specified. 

Note 2. Tme.— The system of numbering in the exercises is thi» : each 
numL)er extendi through what may be called one strain of 4-4 music, or eight 
accented and eight unaccented beats ; a-^d the time is kept by counting th» 
numerals from one to eight for the heavy beats, and for the light beats th» 
syllable " and." 

NoTB 3. The hands aro to bo firmly elinehed, unless on the hips or otlMV' 
wise specified. All thrusts ars from th9 chest unless othsrwiss spodflsd. 



EXPLANATION OF FIRST SERIES. 

HAND MOVEMENTS. 

1. Thrust right hand down from the chest twice; left 

twice ; alternate twice ; simultaneous twice. 

2. Eepeat No. 1, thrusting out at side. 

3. Eepeat No. 1, thrusting up. 

4. Eepeat No. 1, thrusting in front. 

6. Eight hand down once; left once; dru'mrheat (right a 
Mttle in advance of left) once; siraultaneoua once; 
out at sides. 



66 PRACTICAL KLcycunoN. 

6. Eepeat No. 5, thrusting up and in front. 

7. lUght hand down once ; left one© ; dap hand* ; same 
out at sides. 

8. Eepeat Ko. 7, up and in front. 

BODY MOVEMENTS. 

9. Hands on hips ; twist upper body half round to right, 
then to left, and repeat, stopping each time in front on the 
unaccented beats. 

10. Bend upper body to right and left and repeat. 

11. Bend forward, then back, and repeat. 

12. Bend body to right, back, left, front; then reversoj 
bending to left^ back, right, becoming erect only on laat 
beat. 

HEAD MOVEMENTS. 

IS. Same as 9, except that the head alone is moved« 

14. Same as 10, 

15. Same as 11, " " " " 
1«, Same a« 12, « « « a 

DUMB-BELLS. 

17. Arms extended in front, thumbs up, raise hands 
•bout a foot, and bring forcibly to shoulders. 

CLUBS. 

18. Arms horizontal in front; raise right hand to perpen- 
dicular over head twice; left twice; alternate twice, and 
simultaneous twice. 

TWISTED THRUSTS. 

If. Thrust hands down, out at sides, up ia front, twiitlag 
th« arms at sach thrust; repeat three tim«s. 



PBINCIPlJih-OYMHianCSB. 



TOUCHING FLOOR WITH HANDg. 



20: Tlimst hands to floor, not bending knee« ; th«n OT«i 
head, rising on to^, opening hands at each thrust. 

SWAYING, SWINGING ARMS. 

21. Stamp left foot, then right; then charge diagonally 
forward with right ; bend and straighten right knee ; at same 
Ume throwing arms bacK from horizontal in fi'ont. 

22. Repeat No. 21, on left side. 

23. Eepeat No. 21, diagonally backward on right sida. 

24. Repeat No. 21, diagonally backward on left side. 



EXPLANATION OF SECOND SERIES. 

HAND MOVEMENTS, DOWN AND UP, 

1. Thrust right hand down and up alternately through 
«ight beats. 

2. Repeat No, 1 with left hand. 

3. Alternate, right going down as left goes up, and vies 

4. Simultaneous, both down, then both up. 

HAND MOVEMENTS AT SIDES. 

5. Thrust right hand to right and left alternately through 
one strain, twisting body when thrusting to left. 

6. Repeat No. 5 with left hand. 

7- Thrust both hands alternately to right and left, twiating 
body. 
8. Thrust both hands to right four time^; to left four times, 

iSM MOVEMENT. 

^, Hands down at sides; raise stiff right arm forwuid orer 



WUCnCAL ELOOUTION. 

head four times ; left four times ; alternate four times ; aimaU 
taneous four times. 

10. Eaise stiff right arm sideways over head four times; 
left four times ; alternate four times ; simultaneous four time*, 

SWINGING ARMS BACK. 

11. Arms extended in front ; swing them back horizon- 
tally. 

ILilSING SHOULDERS. 

12. Hands at sides ; raise right shoulder four times ; left 
&)ur times ; alternate four times ; simultaneous four timci. 

ELBOWS BACK. 

18. Hand* on hips ; throw elbows back. 

THRUSTING FROM ARM-PITS. 

14. Fists in arm-pits; Thrust right down four times; 
left four times ; alternate four times ; simultaneous four times 

15. Fists upon the shoulders; repeat No. 14 thrusting 
upward. 

MAST MOVEMENT. 

16. Hands OT«r h«ad ; sway body to right and left alter* 
nately. 

/ 

ATTlTUJL>Bg, 

17. Hands on hips, stamp left foot, then right; charge 
diagonally forward with right, looking over left shoulder. 

18. Repeat No. 17, diagonally forward, left foot. 

19. Bepeat ISTo. 17, diagonally back, right. 
$0. Bepeat No. 17, diagonally back, left. 



fRXiTCIIIuEi— QUALITY OF TOKSL 

QUALITY. 



The marrellous capacity of the human voice arises from 
its tidaptation to the ever-changing phases of human ex= 
pression. Under careful culture it attunes itself to the 
almost infinite diversity of thought and feeling. The terra 
" quality," when applied to tone, indicates those distinctive 
properties or characteristics which the voice should assume 
under these varying influences. These qualities constitute, of 
themselves, an unmistakable language, more potent even 
than words, and should be carefully cultivated by the student 
as the very alphabet of expression. Thought and emotion^ 
as the direct emanations of the heart, embrace not only the 
true, the beautiful, and the good, but through the efiects of 
sin, include its baser passions, and its weaknesses. In obedi- 
ence to this dominant law of mind and soul, voice finds its 
first natural division into Pure and Impure qualities, 

PURE QUALITY, 

Pure quality of voice is the language of pure thought ; it 
oroceeds from the combined and harmonious action of all 
ihe vocal parts, and is marked by a clear, smooth, and com- 
manding resonance, which is at once the result and the ex- 
ponent of a natural and serene condition of mind and body. 
In respect to its degrees of force and its varied field of ex- 
pression, it is divided into Simple Pure and Orotund. 

Simple pdee voice is the voice of pure conversation. It is 
the basis of all the other qualities of tone, and is the natural 
starting-point of culture. Here common faults of voice 
must be overcome, and correct habits permanently estal>- 
Hshed ; and since upon the proper understanding and pro- 
duction of this tone all subsequent culture must depend, the 



60 wucricAL iLoouTioir. 

poeseaaion of absolute purity here cannot be too strongly in. 
sisted upon. The student should secure this quality before 
attempting to practice the impure tones. It corrc8))ondM 
with the natural, aa deacribed in the " Table of Vocal Exer- 
cises," on page 41, and the direction for it« production 
there given, should be carofnlly followed. 

Simple Pure Voice is uncd in simple narration, plain de- 
scription, and the great field of unemotional language. 

Orotund Voice is the symmetrical enlargement of Simple' 
Pure Voice, and is produced by a corresponding expansion 
of all the organs used in the production of natural tone. 
This quality of tono in its full development may be jiowtly 
termed the highest cliaracter of human utterance. It com- 
bines the two gi'eat essentials of perfect speech, purity and 
power, and unites in its production the highest purpose of 
mind and the best condition of body. 

Orotund Voice is the language of sublime and exalte^J 
thouglit, lofty ««ntiment, and grand description. 



EXAMPLES OF SIMPLE PURE. 



1. She was dead. No sleep so beautiful and calm, bo free 

from trace of pain, so fair to look upon. She seemed a orea- 
ture fresh from the hand of God, and waiting for the breath 
of life; not one who had lived and suffered death. 

—Chmlea Dickens . 

Two brown heads with tossing curli, 
Hed lips shutting over pearls. 
Bare feet, white ajid wet with dew, 
Two eyes black and two eyes blue- 
Little boy and girl were they, 
Katie Lee and Willie Gray. 

t. But of all the old sweet treasures that gamiflb my neei. 
There's one that I love and I cherish the best ; 
For the finest of couches that's padded with hair 
I never would change thee, my cane-bottom'd chair. 



fRDsCEPLES — ^iCALirr OF T^sscaL 61 

*Rs a btindy-Iegged. high-shouldered, worm-^aten s«at, 
"V\lth a oreaking old baok and twisted old feet ; 
But, since the tair inoming when Fannie sat there, 
I bless the<\ iind love thee^ my Ciine-botionrd chair. 

4. Clw!*/ef5. — That you have wTonged me doth appear in this i 

You have condemned and noted Lucius Pella 

For taking bribes here of the Sardians ; 

Wherein my letters, pmying on his side» 

Because I knew the man. were slightev,! off. 
Brutus. — ^You wronged yourself to write in such » ca««, 
Cb^^ifj.*. — In such a time as this, it is not meet 

Tliat every nice offence should bear its comment. 
Brutii^. — Yet let me tell you. Cabins, you yourself 

Are much condemned to have an itching palm. 

To sell and mart yor.r ^V vr gold 

To undeservers. — ^S-'s.. 

o. I should think mj-self a criminal, if I said anytliing to 
chill the entliusitism of the young scholar, or to dash with 
any scepticism his longing and his hope. He has chosen the 
highest. His beautitul "feith, and his aj^pinition, are the 
light of life. Without his fresh enthusiasm, and his gtiUant 
devotion to learning, to art, to culture, the world would b« 
dreary enough. — 0^<wA:>' PudU'i/ Warner. 

6. Tlie Lord is my shepherd; I shall not want. He 
maketh me to lie down in green pastures : he leadeth me 
l>eside the still Avatei^. He restoreth my soul : he leadeth 
me in the paths of righteousness for his "name's sake. Yea, 
though I walk through the vallev of the shadow of death, 1 
will fear no evil : for thou art wit\\ me ; thy rod and thy stalf 
they comfort me. Tliou preparest a table before me in the 
presence of mine enemies : thvni anointt^t my head with oil ; 
my cup ruimeth over. Surely* govxlness and mercy shall 
follow me all the days of my life : and I will dwell ia tha 
house of the Lord forever. — Bible, 



EXAMPLES OF OROTUND. 



1. Who is the champion T who ihe strong? 
Toniiffand priest, and sceptered throng f 
Oil those aliall fall 



da PRACTIOAL ELOCUTiOfr. 

As heavily the hand of Death, 

As when it stays the shepherd's breath, 

Beside his stall ! — Henry W. JUmgfeUo^, 



2. It took Eome three hundred years to die ; and our 
death, if we perish, will be as much more terrific as our in- , 
tellig-ence and free institutions have given to us more bone 
and sinew and vitality. May God hide me from the day 
when the dying agonies of my country shall begin ! O thou 
beloved land, bound together by the ties of brotherhood, and 
common interest, and perils, live forever — one and undivided ! 

— Lyman Beecher. 



3. Not wholly lost, O Father ! is this evil world of ours ; 
Upward, through its blood and ashes, spring afresh the 

Eden flowers ; 
From its smoking hill of battle, Love and Pity send 

their prayer, 
And still thy wliite-winged angels hover dimly in our 

air. — John G. Whittier. 



4. Thy right hand, Lord, is become glorious in power : 
thy right hand, C Lord, hath dashed in pieces the enemy, 
and in the greatness of thine excellency thou hast overthrown 
them that rose up against thee : thou sendest forth thy wrath 
which consumed them as gtubble. And with the blast of thy 
nostrils the waters were gathered together : the floods sk)od 
upright as an heap, and the depths were congealed id the 
heart of the sea. — Bible. 



Portia — The quality of mercy is not strained ; 

It droppeth as the gentle rain from heaven 
TJpru the place beneath; it is twice blessed ; 
It bJesseth him that gives, and him that takes. 
'Tis mightiest in the m.ightiest. It becomes 
The throned monarch better than his crown : 
His sceptre shows the force of temporal power, 
The attribute to awe and majesty. 
Wherein doth sit the dread and fear of kin^J 
But mercy is above this sceptered sway ; 
It is enthroned in the hearts of kings ; 
It is an attribute to God himself; 



PRINCIPLES— QUALITY OF VOICE. 0% 

And earthly power doth then shov/ likest God^s 
When mercy seasons justice. 

—Shakspeare. 

6. I do not fear to approach the omnipotent J udge, to 
answer for the conduct of my whole life ; and am I to be ap- 
palled and falsified by a mere remnant of mortality here? 
By you, too, who, if it were possible to collect all the inno- 
cent blood that you have shed in your unhallowed ministry 
in one great reservoir, your lordship might swim in it. 

—Robert Eiivmd, 



IMPURE QUALITY. 

Impure voice denotes a disturbed condition of mind, and 
results from a corresponding unnatural and unequal effort 
upon the vocal cords. It varies in form and character ac- 
cording to the prevailing trait of the passion of which it 
becomes the language. 

Impure voice is subdivided into Pectoral, Guttural, Aspi» 
rated and Falsetto. 

These subdivisions, with their natural modifications of 
intensity, cover an important field of expression. It should, 
however, be understood that these divisions are not arbi- 
trary creations of the elocutionist, but are the natural phy- 
sical efiecte of passion, as revealed by observation and study. 
It is an established physiological fact that when the soul be- 
comes agitated by some violent emotion, the nervous im- 
pulse thus awakened, rushing through the avenues of the 
ix)dy, becomes suddenly the controlling agency of the whole 
physical system. The eye flashes, the muscles of the face 
and arm betray the newly awakened influence, and, in sym- 
pathy with this general physical excitement, the vocal organs 
are disturbed, and the voice mstantly reflects this changed 
relation. It loses its natural purity and becomes the agent 
and symbol of the passion that propels it. To this is due the 
rigidity of the cords in the harsh, steely tone of hatred, their 
•'^.nritural tension in the language of terror, and the whols 



M PRACTICAL ELOCUTION. 

phenomena of voice transition. Indeed, so marked ig this 
physical relation between passion and tone that it is at once 
recognized by every condition of man, and even by the brute 
creation. 

PECTORAL. 

The Pectoral quality of voice is used in the expression of 
remorse, horror, dread, deep solemnity, and in the represen- 
tation of the supernatural. It is the result of a relaxed condi- 
tion of the vocal cords and a feeble and lifelees action of the 
abdominal muscles. 

GUTTURAL. 

The Guttural quality of voice is known as a throat tone. 
When carefully controlled, it is an element of great power 
and energy. It denotes all those states of mind classed 
under dislike and ill-humor. It also appears in the ferocity 
of rage and revenge. The prominent characteristic of this 
tone is its harsh, discordant quality, produced by the com- 
pression and partial closing of the throat above the glottis. 

Note. — This form of impurity is the most preralent fault of voice; And tho 
greatest care should be taken to confine it to the expression of the sentinentB 
above enumerated. 

ASPIRATED. 

The Aspirate quality of voice is the language of secrecy, 
caution, surprise, fear, and certain forms of anger. It arisea 
from the escape of unvocalized breath and may connist of 
any of the other qualities of voice, modified by strong breftth- 
ing. It also includes the whisper. 

FALSETTO. 

Falsetto voice is generally produced aboTe the natural 
tone, and is used in the imitation of high female voices, in 
the voices of children, and in affectation, terror, &c. 



PmiNCaPLBS— -QUALITY OF VdlOE. id 

EXAMPLES IN PECTORAL QUALITY. 



1. I am thy father's spirit ; 

Doomed for a certain term to walk the night ; 

And for the day, confined to fast in fires, 

Till the foul crimes, done in my days of nature. 

Are burned and purged away. But, that I am forbicj 

To tell the secrets of my prison-house, 

I could a tale unfold, whose lightest word 

Would harrow up thy soul ; freeze thy young blood ; 

Make thy two eyes, like stars, start from their sphere* ; 

Thy knotted and combined locks to part, 

And each particular hair to stand on end, 

Like quills upon the fretful porcupine. 

But this eternal blazon must not be 

To ears of flesh and blood. List, list, Oh, Hst ! — 

If thou didst ever thy dear father love. 

— Shakspsare. 

& Oh, I have passed a miserable night, 

So full of ugly sights, of ghastly dreams. 
That, as I am a Christian faithful man, 
I would not spend another such a night, 
Though t'were to buy a world of happy dayi, 
So full of dismal terror was the time ! 

— Shakspeare. 

8. But at midnight, — strange, mystic hour ! — when the 
reil between the frail present and the eternal future grows 
thin, — ^then came the messenger ! — Harriet Beecher Stowe. 

4. They're gone, they're gone ! the glimmering spark hath 
fled! 
The wife and child are numbered with the dead. 
On the cold earth outstretched in solemn rest. 
The babe lay frozen on its mother's breast : 
The gambler came at last — but all was o'er — 
Dread silence reigned around : — th» clock ftruck four ! 

— Coaie: 

For ielections containing additional examplei of Pectoral, 
see Elocutionist's Annual, No. 1, page 87 ; No. 2, page 40 ; 
No. 3, page 126 1 No, 4, page 1X5. 



PHACnCAL KLOOUTIOBT. 



EXAMPLES IN GUTTURAL QUALITY.) 



1. I know the difficulty the honorable gentleman labored 
under when he attacked me, conscious that, on a compara- 
tive view of our characters, public and private, there is 
nothing he could say which would injure me. The public 
would not believe the charge. I despise the falsehood. If 
Buch a charge were made by an honest man, I would answer 
it in the manner I shall do before I sit down. But I shall 
first reply to it when not made by an honest man. 

— H. Graitcm. 

2. I'll have my bond ; I will not hear thee speak : 
I'll have my bond ; and therefore speak no more. 
I'll not be made a soft and dull-eyed fool. 

To shake the head, relent, and sigh; and yield 
To Christian intercessors. Follow not; 
I'll have no more speaking . I will have my bond. 

— Shakspeare, 

8. I could have bid you live, had life been to you th» 
same weary and wasting burden that it is to rae — that it is to 
every noble and generous mind. But you — wretch ! you 
could creep through the world unaffected by its various dis- 
graces, its ineffable miseries, its constantly accumulating 
masses of crime and sorrow, — you could live and enjoy your- 
self, while the noble-minded are betrayed, while nameless 
and birthless villains tread on tiie neck of the brave and 
long-descended ; — you could enjoy yourself like a butcher's 
dog in the shambles, fattening on garbage, while the slaugh^ 
ter of the brave went on around you ! This enjoyment you 
shall not live to partake of, you shall die, base dog ! — and 
that before yon cloud has passed over the sun. — Scott. 

4. And it came to pass at noon, that Elijah mocked them, 
and said, Cry aloud ; for he is a god : either he is talking, o: 
Yi'i is pursuing, or he is in a journey, or peradventure h€ 
slsepeth. and must be awaked. — B'ihle. 

Prom the heads of kings I have torn the crown, 
iVom the heights of fame I have hurled men down j 
I have blasted many an honored name ; 
I have taken virtue, and given shame ; 



PRINCIPLES — QUALITY OF VOICE. 

I have tempted the youth with a sip, a tast«, 
Which has made his future a barren waste. 

—EUa Whedat, 

For selections containing additional examples of Guttural, 
see Elocutionist's Annual, No. 3, page 64 ; No. 5, page 133 ; 
Ko. 3, page 140. 



EXAMPLES IN ASPIRATED QUALITY. 



1. Hark ! they whisper : angels say, 
" Sister spirit, come away." 

What is this absorbs me quite, 

Steals my senses, shuts my sight, 

Drowns my spirit, draws my breath ? 

Tell me, my soul, can this be death ? — Pope, 

2, Thou sure and firm-set earth ! 
Hear not my steps, which way they walk ; for fear 
The very stones prate of my whereabout. 

— Shakspeare. 

8. Soldiers I you are now within a few steps of the 
enemy's outposts. Our scouts report them as slumbering in 
parties around their watch-fires, and utterly unprepared for 
our approach, A swift and noiseless advance around that 
projecting rock and we are upon them. We capture them 
without the possibility of resistance. Forward ! 

4. They are famished ; 

Let them do what best delights them ; 
Let them eat, for they are famished. 

— H. W. Longfellow. 

6. Ye're there, but yet I see you not ; draw forth each 

trusty sword, 
And lat me hear your faithful steel clash once around 

my board ; 
I hearit faintly; — ^louder yet! What clogs my heavy 

Hjjreath ? 
1^, all! and §hout for Rudiger, " Defiance unto death ! " 



** PRACTICAL ELOCDTION. 

For selections containing additional examples of Aspirated 
see Elocutionist's Annual, No. 3, page 126; No. 2, pag4 
117; No. 4, page 163. 



EXAMPLES IN FALSETTO QUALITY. 



1. I beg your pardon, I thought my father wa& — or 
might be — dear me, how very awkward ! I never knew any- 
thing happen so cross. I am very sorry I intruded. If I 
had n't thought my father was here, I would n't, upon any ac- 
count, have — it is very provoking — miust look very strange ! 

— Dickem. 

2. " Ephraim ! " said she, the tears rolling down her 
cheeks and the smiles coursing up. " Why, what is it, Ara- 
mathea?" «aid the astonished Mr. Jones, smartly rubbing 
his head where it had come in contact with the lounge. 
"Baby!" she gasped. Mr. Jones turned pale and com- 
rneaced to sweat. " Baby ! " " O, O, O, Ephraim I Baby 
has — baby has got — a little toothey, oh ! oh ! " 

— Davbury News Man, 

3. And from the crowd beneath, in accents wild, 

A mother screams, •' O God ! my child ! my child ! " 

— George M. Baker. 

4. Will the New Year come to-night, mamma ? I'm tired of 

waiting so. 
My stocking hung by the chimney side full three long 

days ago. 
I run to peep within the door, by morning's early light, 
Tis empty still— Oh, say, mamma, will New Year come 

to-night? -^Cora M. Eager. 

5. Yes, it is worth talking of! But that's how you always 
try to put me down. You fly into a rage, and then, if I only 
try to speak, you won't hear me. That's how you men 
always will have all the talk to yourselves : a poor woman 
is n't allowed to get a word in. — Douglas Jerrold. 

For selections containing additional examples of Falsetto, 
see Elocutionist's Annual, No. 1, page 96 ; No. 2, page 46 ^ 
No. 5, page 89 ; No. 5, page 96. 



ARTICULATION. 



Articulation consists in a correct and distinct utterance of 
tlie elementary sounds in syllables and words. In nearly all of 
the many definitions given by lexicographers and elocutionists, 
the prevailing idea has been distinctness. While this idea is a 
proper one, it is possible to be distinct and yet not correct, 
in which case the very distinctness makes the incorrectness 
more apparent. In the process of articulation the organs of 
speech constitute what may be termed a set of moulds, capa- 
ble of changing position at will, and any imperfection in the 
moulds, or in their arrangement, will produce a correspond- 
ing imperfection in the utterance. 

In articulation as in morals, we have to answer for sins of 
omission as well as of commission. Our articulation is faulty 
not simply in the incorrect sounds we make, but also in the 
correct sounds we too frequently suppress. The ear should 
be trained to distinguish the finer shades of difference in 
sounds, and the organs of speech should be carefully and 
persistently drilled until they are able to produce, promptly 
and with ease, all the sounds of the language, in all their 
varied and complex combinations. It is believed that a care- 
ful study and practice of the exercises here given will acoom* 
plish that result. 

Aa to the importance of Articulation, there can h% but on« 
opinion. The distinctness and polish which it gives to spoech 
are quickly recognized, even by those whose usage is a ead 
ireiieotion upon that importancec 

9^ 



70 PRACTICAL ELOCUTION. 

In the strict sense of the term, Articulation would be 
regarded as a division or department of Pronimciation ; but 
for convenience it "will here be given a broader signification, 
and be made to include some exercises in Pronunciation. 

The question is frequently asked, What is the standard of 
pronunciation ? Dr. Worcester says, " The pronunciation 
of the English language, like that of all living languages, 
is in a great measure arbitrary. It is exposed to the caprices 
of fashion and taste. It is liable to change from one age to 
another ; and it varies, more or less, not only in the diflferent 
and distantly separated countries in which it is spoken, but 
also in the different divisions and districts of the same coun- 
try. No two speakers or orthoepists, though inhabitants of 
the same place, would be likely to agree in the pronuncia- 
tion of all its words. The standard of pronunciation is not 
the authority of any dictionary, or of any orthoepist; but it 
is the present usage of literary and well-bred society." H© 
then proceeds to show that the usage of the best society in 
London is entitled to far more consideration than that of 
any other city, but adds, in the next sentence, that the usage 
of the best society in the place or district in which one resides 
is not to be disregarded. While the latter suggestion might 
prove a convenience to many, it must be accepted with great 
caution. There are many districts in this country, as well as 
in England, which can scarcely boast of much " best society." 
Even in places claiming men eminent in many departments 
of learning, the utter recklessness and disregard of the prop- 
er forms of spoken language which so generally prevail, 
would render the pronunciation of such men wholly unwor- 
thy as models. Not long since, a student remarked, in 
justification of his pronunciation, " Our pastor pronounces 
e-a-l-m, cam, and he is a very intelligent man." The argu- 
ment is a very common, though not a very safe, one. 

With all due deference to Dr. Worcester's remark that the 
authority of any dictionary is not the standard of pro- 
nunciation, we believe that very few persona in Ajaerica, 



search beyond Webster and Worcester for tli9ir models. It 
is the business of the dictionary to present the best usage of 
the best society, whether it be that of London, Boston, or any 
other city. The revisions of the dictionary should and do 
keep pace with the progress and changes of language. 
While some person must be first, and some other person 
last, in this process of change, yet Pope's rule m regar«i to 
uew words may be fitly applied here : 

In -words, as fashions, the same rule -will hold 5 
Alike fantastic, if too new or old; 
Be not tli8 first by whom the new are tried, 
Nor yet the last to lay the old aside. 

The question is frequently asked, Which is preferrscf. 
Webster or Worcester ? Much has been written, and a grear 
deal of time wasted in the attempt to prove the superiority 
of one to the other. The extent to which Webster is used is 
the very strongest indorsement in itself; and when, witb 
that, we couple the testimony of the best scholars in this 
country and in England, it seems like pedantry or bigotry 
to say he is unworthy of recognition as a standard. The 
extent to which Worcester is used is also the very strongest 
indorsement ; and when we find him. to be approved by men 
equally renowned, we must recognize him as equally high 
authority. The truth is, they differ less widely than many 
persons suppose ; and when they difier, we have the advan- 
tage of a choice of pronunciation. When Webster aaya 
eglantine or eglantine, and Worcester says eglantine or 
eglantine, they agree, not only in recognizing the two forms, 
but also in showing their preference for the first. If our 
respect for their common preference be our controlling 
motive, we will pronounce the word eglantine. But if our 
pastor, or our doctor, or the judge of our county court, or 
the " best society " in which we move, uses the second form, 
and our desire to conform to such usage is greater than oui 
respect for the joint preference of Webster and Worcestei;, 
we have the fullest freedom to use the second form. 



72 PKACnCAL ELOCUTION. 

When these lexicographers give two forms each of pror 
Douncing the same word, they frequently reverse the order, 
thus differing in their preference, and, it is to be hoped, for 
other reasons than to differ. When Webster says sliver oi 
silver, and Worcester says silver or slive)-, we may have one oi 
several motives to govern our choice. We may take the 
preferred form of our preferred authority ; we may be gov- 
erned by home usage or our best society ; or we may call in 
Smart or some other eminent English orthoepist to act as 
umpire. 

When Webster gives two forms and Worcester gives but 
one, or vice versa, if the one form agrees with either of the 
two forms of the other authority, as in most instances it will, 
then the weight of authority would seem to be in favor of the 
form which they give in common. Yet if home usage is in 
harmony with the other form, that usage may assert its privi- 
lege even to the exclusion of the other authority. If Webster 
says vase (pronounced vace) and Worcester says vase (pro- 
nounced vaze) or vase, the weight of authority seems to be in 
favor of vase (pronounced vace) yet home usage, or a third 
orthoepist, may decide otherwise. 

If Webster says c^m'^-ent or ce-meni^, and Worcester says 
cim^-ent, the case is clearer, for Worcester's only form agrees 
with Webster's preferred form ; yet even here, home usage, 
or a third orthoepist, or both combined, may decide in favoi 
of ce-menV. When Webster says somber and Worcester 
sombre, we are compelled to make a choice, and will make it, 
doubtless, by some of the methods already suggested. 

Most persons use but one dictionary, and will, therefore, 
follow the dictum of that one, but in these days of cheap 
books and close attention to forms of pronunciation, it would 
be well to have not only a quarto edition of one of our stand- 
ard lexicographers, but also one of the better abridged 
editfbns of the other. This is necessary, not so much tc 
asBur© ourselves that we are right, for we may be right by 
tiie use of one dictionary, but rather to be assured that oui 
neighbor is not wrong. In our study of pronunciation, 



ABTICULATION. 9| 

instead of trying to be strictly in harmony with one ot i!:e 
recognized authorities, and ignoring the other, we should 
aim, rather, to be not opposed to both. The reader will 
observe that in this discussion, we have had reference sim- 
ply to Pronunciation. 

The change from an old form of pronunciation to a 
new one is always attended with discomfort for a while. I^ 
is like donning a new hat or wearing a pair of shoes for the 
first time. We feel ill at ease, and imaguie everybody recog- 
nizes our discomposure. But the new form, by constant 
use, grows to fit the mouth, as the new shoes become easy 
to the feet. To one who has pronounced c-a-l-f, hdfj for 
many years, the change to kdf may make him feel not unlike 
that animal for a time, but a knowledge of the fact that the 
latter form alone is right should stimulate him to overcome 
all opposing difficulties. The first thing necessary is the 
acquaintance of the ear and its acceptance of the new form ; 
for the ear, like timid children, will not receive a stranger 
willingly. Many repetitions of the new form aloud, will 
beget ease in its utterance, and accustom the ear to its sound, 
and after much private practice of this kind, the learner 
need not hesitate to use it in conversation or reading. Con- 
fidence is victory ; timidity defeat. If the student will make 
it a habit to consult the dictionary whenever he hears a form 
of pronunciation unlike his own, and make a careful list of 
the words in which his usage is incorrect, and correct those 
words in the manner suggested above, he will find his ear 
and his tongue keeping pace in the new work, the former 
acquiring the power to discriminate very closely, and the 
latter the power to make the finer distinctions with ease, so 
that that which at first may be a task, will grow to be a 
source of never-failing delight. 



74 EEACTICAL ELOCUTKMr. 

EXERCISES IN ARTICULATIOK 
With Suggestions to Teachers and Students. 



Th# foUowmg exerciees were arranged several years ago^ 
for use in ths classes of the National School of Elocution and 
Oratory, with no thought of their appearance in a book. 
The matter was gathered from various sources, some of it 
being used without change, while much of it has been given 
new shape and adapted mora fully to our purpose. The old 
and the new have been so thoroughly mingled, that to-day it 
would be difficult to make acknowledgment where acknowl- 
edgment might be due. When every claim has been satisfied, 
it is believed enough will still remain to commend the ex* 
ercises to all wh© aspire after correct and distinct enuncia* 
tion. 

To some, the arrangement may seem illogical and the 
exercises disjointed, but it must be remembered that this 
does not aim to be a systematic treatise upon the theory of 
ai*ticulation, but rather a series of practical and progress- 
ive exercises, designed to promote good articulation. These 
exercises have been thoroughly tested in the class-room and 
their value full}'' established. 

A thorough acquaintance with the elementary sounds of 
the language lies at the foundation of good articulation. 

Instead of presenting the table of elements at the outset, 
experience has shown that it is better to lead the student to 
that closer discrimination which the table involves, by a 
careful system of spelling exercises. This inductive method 
greatly simplifies the task by showing the student that the 
analysis or spelling is nothing more than simply separating 
the sounds, which, in combination he has long been «,ccus- 
tomed to us^. 



ARTICULATION— PHONIC ANALYSIS. 76 

The division into lessons, here indicated, is not essential. 
being a mere matter of convenience in our classes as adapt 
ed to the length of the recitations. 



To THB TsACHEa.— In the spelling exercises, have the class pronounce the 
word mai in a firm conversational tone. Then, prolong the word seventl 
seconds, being careful to distribute the time as equally as possible upon tiie 
eereral sounds. The t sound cannot be much prolonged, but it should be mafle 
sharp and clear. The m should be as long as the a. This -will set out the several 
sounds in the word conspicuously, and prepare the student for the third step, 
which is the analysis. In the prolonged form it is weil to use the monotone, so 
that the slide or inflection may not call the attention away from the final 
sound. When the word has been thus pronounced, have the class reproduce 
the first sound alone, then the second, then the third. If the first be given 
correctly and the second incorrectly, set aside the m sound, and have theni re- 
peat what remains of the word (ai), listening closely for the first sound iiow 
made. Proceeding slowly and carefully in this way, the student will soon 
come to enjoy what will be to him the discovery of a new power. Insist upon 
his ignoring the letters, and have him depend entirely upon the sound. For 
this purpose the teacher should pronounce the words of the first lesson wltiiouJ 
the students having seen them previously, or even seeing them at the time of 
spelling. The simplest words have been selected, and some of the sounds are 
frequently repeated so as to make the task as light as possible. The five *teps 
in the process of phonic analysis are as follows : 1st. Teacher pronounce* the 
word in a firm, natural tone. 2d. Class pronounce the word in the 8am<> ton© 
as nearly as possible. 3d. Class prolong the word. 4th. Class utter the separate 
sounds of the word. 5th. Class pronounce the word in a simple, natural man- 
ner. The word having been pronounced by the teacher, the work of the 9lam 
may be suggested to the eye by the following arrangement: 

mat 

m - - a - - t 

m a t 

mat 

The bat step is designed to give grsater completeness to th* process of an&Iy 
sis. Without it, the work would seem unfinished. If the pupils have much 
tlficultj in properly prol<mging the word, or in sepanting the sou^s aftey 



' fEACTICAL ELOCUTIOir. 

5>rolonging it, have them repeat the proceBS a number of times, enlarglBi 
«lightiy at first and increasing in length each time until the sereral •oundi 
hang together by so feeble a thread that they may be readily separated. Tkia 
«ay be represented thus : 

mat 



m 


- a - 


t 












m - 


- a - 


- * 












m - 


- a - 


- 


t 










m - - 


a 


- 




t 








m 


a 


- 


■ 




t 






m 


a 


• 




. 




t 




m 


a 
mat 












t 



The exercises may be nicely varied, and with great interest and profit too, by 
the employment of the synthetic method, the teacher giving the several sounds 
•f a word widely separated, and requiring the class to put them more and more 
slosely, until they combine to form the word. This proowa laay b« represented 
lo the eye by reversing the above arraogeuent, thiu: 

Teacher: 



CUias: 



m 




a 














t 


m 


• • 


a 


• 






• 




t 




m 


— • 


a 


m 




- 




t 








m - 


a 


- 






t 










m - 


- a - 


- 




t 












m - 


- a - 


- 


t 














m 


- a - 
mat 


t 















After the words have been spelled in concert, they should be reepelleft by tbe 
Individual members of the class. 

The second exercise of this lesson is designed to give praf:!tlce in the use of 
the sound of wh, and is especially designed for those who say teoi, wen, wich, tpil«, 
yfy, for what, when, which, while, why. Believing that a single short exercise, 
asa>ny times re|teated and thoroughly mastered, will give greater 8tren§tb and 



ARTICUIATION— PHONIO ANALYSIS. 



77 



skill than many long and intricate ones, we recommend that a fev simple 
■exercises be committed to memory. They are thus available at any time, and 
will often be practiced when they would not be if their practice depended upon 
having the book in hand. 

1. Spell by sound — 



mat 


lap 


jam 


hem 


fit 


cog 


nut 


cut 


yelp 


f-it 


ham 


ten 


get 


hip 


fog 


fim 


rnm 


bold 


sat 


pan 


net 


sin 


fig 


hop 


tub 


vat 


dust 


fail 


man 


set 


pin 


rim 


log 


gum 


wag 


wend 


sjan 


rat 


keg 


sit 


sip 


mug 


sun 


zest 


gill 



2. Commit to memory — 

What whim led White Wliitney to whittle, whistle, whis- 
per, and whimper near the whar^ where a floundering whal© 
might wh«el and whirl? 



n. 



To THTB TBAcatBa.— Th» obserratlonB in the first lesson wHl apply wltk •qtud 
force to the first and third divisions of this. The second exercise has a double 
purpose. By a gradual inductive process we pass from simple monosyllable* 
containii^ the long and short vowel sounds to those sounds as individual ele- 
ments. We also lay a basis for a series of exercises continued through a num- 
ber of lessons, the advantage oi which exercises will become more ap^ jnt as 
we proceed. Be careful to have the class give the short vowel sonnds correctly; 
the long vowel sounds will present but little difficulty. 



1. Spell by sound- 








band 


glad 


rant 


span 


tramp 


shad 


cash 


chat 


flag 


smash 


that 


thrash 


bench 


jest 


kept 


trench 


thick 


went 


whelp 


inch 


fish 


midst 


whist 


swim 


swing 


thong 


flog 


prompt 


blush 


bunch 


snug 


sham 


chum 


thump 


shrub 


child 


both 


charm 


marsh 


yard 


bald 


Bait 


bush 


broil 


ground 


push 


spoil 


BOUth 


whale 


twine 


thrive 


thine 


flume 


flute 



78 PRACTICAL ELOCUTIOir. 

2. Pronounce firmly — mate mete mite mote mute 
Pronounce firmly — mat met mit mot mut 

Alternate several times — 

mate i mete i mite I mote I mute | boon | boil 
mat I met | mit I mot I mut | book | bout 

Dropping the first sound in the above words, repeat — 

ate I ete I ite | ote I ute | oon j oil 
at I et I it I ot I ut | ook | out 

Dropping the last sound in the above words, repeat— 
a|e|ilo|u|o&|oi 



8. Commit to memory — 

Amidst the mists and coldest frosts, 
With stoutest wrists and loudest boast| 
He thrusts his fists against the posts. 
And still insists he sees the ghosts. 



JUWICULATION. 



in. 



To THK Tbachee.— The sounds of b, d, g, w and y are generally regarde<J 
difficult by beglnnera. The prolonged form of the consonant, suggested in the 
first exercise, will render them, easy of acquisition. By g is meant the hard 
sound, as in go, not as in gem. The sound of wU is equivalent to wob; and the 
sound of yod, to yU. In the second exercise be very careful that the short vow* 
els are made correctly. The third exercise is designed to give vigor and 
flexibility to the muscles of the mouth. In the fc th exercise, begin slowly 
and carefully, and increase to a rapid utterance. It..ake no pause between the 
words of a Hne, and only a slight pause at the end of the line. In the fifth ex- 
ercise, have the class give separately and vigorously the sounds represented by 
the letters in Italics, then the combination as a whole, after which, bring out 
the combination prominently in the words that follow. The letters of the 
Italic combination are not always the same as those representing the combina- 
tion in the word, but the sounds are the same, and the Italics are the better 
representatives of the so^unds. 

1. Utter firmly tlie following exercise, dwelling upon the 
consonant element, and ending the vowel abruptly — 

ba I be bi I bo I bu I bo6 I bot 

ba, I b6 bi I b5 I btl I boo I bou 

Substitute for 6, in the last exercise, d^ g^j^ I, n, w, y. 

2. Pronounce firmly — a eiou o5oija.Si6tto6ou 

3. Utter the following, slowly and carefully at first, and 
increase to a very rapid utterance — 

ba-pa I be-pe I bi-pi I bo-po | bu-pu I b65-poo l_ boi -poi 
biL-pa, I bS-pg I bl-pi 1 b5-p5 | bti-pti I bdo-poo I bou-poa 

Also — da-ta j va-fa | ja-cha. 

4. Commit to memory — 

ceaseth, approacheth, rejoiceth, ceaseth, 
approacheth, rejoiceth, ceaseth, approachefcli, 
rejoiceth^ c^aseth^ approacheth, rejoioeth. 



PRACTICAL ELOCUTIOir. 

5. Subtonic Combinations 



bd robbed, robed 
gd bragged, dragged 
ngd banged, hanged 
njd singed, tinged 
Ijd bulged, divulged 
ndz lands, mends 



thz sheathes, breathei 
thd sheathed, breathed 
Ims elms, films 
0m chasm, prism 
zmz spasms, schisms 
zn risen, dozen. 



IV. 



To THK Tbacher.— It is desirable that th« table of elementary sounds, with 
kheir key words, be committed to memory. This need not be accomplished in 
one lesson, nor in five, but should be kept in mind, so that with a little special 
study, together with the reyiewa hereafter to be given, the work will be 
achieved without much effort. For the convenience of the student the nota- 
tion of Webster and of Worcester is presented in its application to the voice 
sounds. For the purpoee of drill, have the class pronounce fi^rmly each key 
word under Voice Sounds twice, then utter the sound of the vowel twice. After 
the entire list has been disposed of in this manner, repeat the list, giving the 
key word once and the sound twice. Repeat, giving the vowel sounds only, but 
uttering each twice. Proceed in like manner with the Breath and Union 
Sounds. The distinguishing character of the vowel sounds in the coalescents 
or inseparable»— ar, er, or, and ur — depends entirely upon the r. Although the 
vowel sounds may be given alone, or may even be combined with other sound* 
than r, yet the fact remains that in English words those vowel sounds are in- 
separably combined with r. For this reason it is suggested that the two soundi 
be joined and considered as one, just as the diphthongs o£ and oa »re regarded 
as single, though not simple sounds. For the convenience of the student th» 
names of the diacritical marks or symbols are given. 

1. The elementary sounds are classified according to the 
material of which they are made. 

Voice Sounds are those which are made of voice. 
Breath Sounds are those which are made of breath. 
Union Bounds are those which unite voice and breath in 
one element. 



AKHCULATIOif— ELEM^TARY SOUNDS. 

Commit to memory— 

TABLE OP ELEMEirrASY SOUNDS. 









Voice Sounds, 






Webster. 


Worcester. 




Websten WoreestWk 


1 


A 


ale 


A 




12 


u use 


u 


2 


i 


a\ 


A 




13 


u w p 


tJ 


3 


A 


alms 


A 




14 


oo 00 ze 


6 


4 


A 


all 


A 




15 


00 look 


e 


5 


A 


ask 


i 




16 


01 0^1 


6i 


6 


E 


e ve 


E 




17 


OU 01^ t 


6f> 


7 
8 


I 


e Ik 
i ce 


I 












18 


A f ar e 


A 


9 


f 


i n 


f 




19 


S er se 




10 


6 


Id 


a 




20 


orb 




11 


6 


n 


5 




21 


tJ ur n 











^r^fl/A Sounds. 






1 


/sn 




4 


p in 




a s% 


am 


2 


h&t 




5 


sun 




9 th 


in 


3 


kid 




6 

7 


<an 
chin 




10 w^ 


en 








(/wo;/ Sounds, 






1 


boy 




6 ' 


m an 




11 y- 


ok« 


2 


dsiy 




7 


71 ot 




12 2; one 


3 


9 o 




8 


r oam 




13 a ure 


4 


j udge 


9 


«; an 




14 i^ 


an 


B 


/ one 


10 


w e 




15 SOTi^ 






DIACEITICAL POINTS 


►. 






•i 


Macron. 




•• 


Diseresia. 






w 


Breve. 






A 


Caret. 






«* 


Tilde. 






JL 


Obeliik. 






.... 


Period. 











82 



PKACfnCAL ELOCUTIOir. 



V- 



PRACTICAL HINTS UPON A FEW VOICE SOUNDS. 



To THE Teacher.— Careful and frequent practice upon the \rorda given a* 
azamples and as exercises in this lesson will be profitable. The student should 
be urged to increase the list of examples under each of the sections, as ex-- 
amples are furnished in his conversation and reading, especially adding those 
in which his usage is faulty. 

1. Italian a (a) when not followed by r is frequently mis- 
pronounced. Example8 — balm, calm, palm, psalm, calf, 
half, ha, wrath, aunt, laugh, launch, mustache. 

2. Fifth a (a or a) occurs chiefly in monosyllables ending 
in j^^ ft, ss, st, sk, sp, nee, nt. The following list, with their 
derivatives, will furnish abundant practice : — 



quaff 


shaft 


blast 


pasture 


mask 


enhance 


staff 


waft 


fast 


pilaster 


task 


glance 


abaft 


amass 


bombast 


plaster 


asp 


lance 


aft 


surpass 


contrast 


cast 


clasp 


prance 


after 


alas 


disaster 


vast 


grasp 


trance 


craft 


brass 


aghast 


repast 


gasp 


ant 


draft 


mass 


ghastly 


ask 


hasp 


chant 


draught 


pass 


last 


bask 


rasp 


grant 


graft 


lass 


mast 


basket 


advance 


pant 


haft 


grass 


mastiff 


cask 


answer 


slant 


raft 


glass 


past 


casket 


chance 


blanch 


rafter 


class 


pastor 


flask 


dance 


branch 



3. Short o (6) is often incorrectly sounded like broad a 
(a or a). Examples — on, gone, dog, off, often, soft, soften, 
long, prong, song, strong, thong, throng. 



4. Long u (0) is often incorrectly sounded like long o* 
{6b or 6) when preceded by d, g, j, I, n, s, t, chy th, wh, z. 
Examples— dubious, duty, duke, duet, dew, due, duel, dupe, 
gewgaw, gubernatorial, June, juice, jubilant, jubilee, junior, 
juniper, jurist, lute, Lucifer, lunacy, lurid, lucid, lucre, lumin- 
ous, new, neuter, nucleus, nuisance, numeral, nutriment, 
suit, suitor, suet, sue, sudorific, suicide, superintend, tune, 
tube, tunic, Tuesday, tureen, tulip, tumult, chew, chusitc, 
thews, whew, whewer, zuche, azumea. 

5. After r, ah, and w, long w (u) represents the sound of 
long 00 (oo). Examples — rude, brute, fruit, shude, shute, 
sure, issue. 

6. The coalescent or (1 or 1 with r), as in pare, should not 
bend too much toward long a (a), as in "payer , nor yet to- 
ward short a (I), as in 'parry. 

7. The coalescent er (g with r) should be carefully difitin- 
guished from ut (d or u with r). Exercise — yes, sir; no, sir; 
prefer, verge, verse, mercy, ermine, — fir, fur; earn, urn; bird, 
burred ; serge, surge. 

S. The vowel in the coalescent or is more open than long 
p (o), but not so open as broad a (a or a). Examples — for, 
more, corn, borne, lord, stork, pour, George, board, mourn, 
ioor. But when or occurs in an accented syllable, followed 
by a vowel, or by another r, in a word not a derivative, it has 
its regular short sound (6). Examples — foreign, orange, tor- 
rid, coronet, coral, correlate, corridor. 

9. The aoalescent vtr occurs in monosyllables when not 
followed by a vowel ; in accented Byllables with r final, or r 
followed by one or more conionanta different from itself; 
and in derivatives fi'om either of those classes. Examples — - 
cur, fur, furl, hurt, burst, purr, — recur, curfew, furlong, dis- 
bursed, — currish, furry, purring, recurring. This sound 
should be carefully distinguished from short u (C) before 
r ia such word* *5 curry, hurry, burrow, currant, current. 



H 



tkAsmo^t i^owwxf. 



VT. 

To THX TEACSER.~The long and short towcI souncU are designed to 1»e U9e& 
in the second section of thia lesson as in the third section of lesson HI. The 
third section of this lesson has been explained nnder the fifth section of lesson 
III, and the fourth section ander the first section of lesson I. As few persons 
pronounce all of the words of the fifth section of this leMon correctly, it should 
k« practiced with great care. 

1. Review Voice Sounds, first with key words, then with- 
out key words. 

2. ba-pa ( da-ta | va-fa | tba-tha | ja-cha | gsa-ksa, first 
with accent on first syllable, then with accent on second 
syllable, 

3.— 



Idz molds, folds 




ps 


taps, sips 


rbd orbed, absorbed 




pt 


rapt, slept 


rjd urged, verged 




sps 


grasps 


wasps 


rdz cards, words 




apt 


clasped, lisped 


rlz purls, girls 




sks 


asks, risks 


rid furled, world 




skt 


tasked, frisked 


rmz arms, firms 




ths 


truths 


withes 


rmd charmed, squirmed 




tht 


withed, scathed 


rvz carves, serves 




sts 


mists. 


posts 


rvd starved, curved 




kts 


acts, picts 


4. Spell by sound- 










Aaron hough 


fault 


says 


ftawk 


earth broad 


dost 


blood 


pretty 


love spoon 


said 


read 


gauge 


fsergeant haunt 


feud 


grew 


been 


beau captain 


ceil 


guaranty 


finance 


heart now 


new 


sleight 


deign 


yeoman deep 


chair 


book 


daunt 


plaid shoe 


what 


eye 


guard 


aisle swear 


gain 


could 


bear 


wolf knowledge 


girl 


any 


sought 


^here hautboy 


d0€3 


beauty 


peopw 



ARTICULATION— PHONICS. 85 

5. For the hundredth time he spoke of lengths, breadths, 
widths, and depths. 

He adds fourths, fifths, sixths, sevenths, eighths, ninths, 
tenths, elevenths, and twelfths with skill. 



VII. 

To THE TEiLCHER.— The first exercise of this lesson Is designed to show how 
different letters and combinations of letters are used to represent the samo 
sound. The words should be used as an exercise in phonetic spelling, tho 
student in each case pointing out the equivalent. 

1 — Equivalents : 

a sail, gauge, lay, great, deign, they, melee, 

a plazd, guaranty. 

a dat^nt, heart, gi^ard, sergeant. 

a* paiise, law;, groat, sought. 

a* No equivalents. 

e weak, seize, people, key, brief, pique, seek. 

6 any, said, says, dead, heifer, leopard, friend, ^tiess, hurj* 

i aisle, sleight, eye, die, choir, guide, buy, try. 

i English, been, sieve, women, bitsy, build, symbol, captain, 

tort<?ise. 
6 hautboy, beau, yeoman, sew, boat, hoe, soul, flow. 
6 hough, knou;ledge, what. 
u beauty, feud, dew, adieu, view, jour, cue, suit, 
a does, love, young, blood, 
oo shoe, soup, rheum, dreu;, do, canoe, manowivre, rwde, 

recruit. 
do wolf, would, pull, 
oi Joy. 
ou nou;. 

ar hair, bear, wtiere, their, Aaron, 
er earnest, mirth, myrrh, giterdon. 
or extraordinary, Qeorge, board, moura. 
ur worm, joitmey. 



86 



PRACTICAL ELOCUTION. 



2. — Aflix the long and short vowels as in previous ex»p« 
, and accent the first and thii'd syllables r 



b-p-b-p I d-t-d-t I v-f-v-f j lii-th-iii-th 

f ^ // //// 

j-ch-j-ch I gs-ks-gs-ks | w-v-w-v | v-w-v-W 



VIIL 

To TKE Tbaoscbr. — Oogmates are soruids requiring the same posltloo of tlM 
vocal organs. The first of each pair is a Breath Sound, the second a Union 
Sound. The distinetion ehould be carefully marked. 

The Oftntraats require great precision in their utterance. Careless epeakei* 
make little or no difference In their pronunoiation. 

1. Review Union Sounds first with key words, then yrith* 
out key words. 

2. Cognates— 



/, tr, /ast, 


vast 




^J, 


eh^tjmlt 


k^g. Mil, 


ipll 




sh,0, 


Ashur, aeiore 


p,b, jmre 


, 6are 




ih,^, 


thigh, % 


s, «, «eal, ;3eal 




wh,w, 


whit, wit 


t, d, tuna, dime 








S. Contraste— 


- 








prince, prints 


tracks, tracts 




tens, tends 


mince, mints 


axe. 


acts 




wrens, rends 


sense, cents 


sex. 


sects 




fens, offends 


dense, dente 


duck*, duct» 




relics, relicts 


tense, tenia 


&lS6, 


&ulti 




initanee, instants 




r«fie]« red9»te 


iaeidwuie, ineidenti 



ABnCULATlOK — PHONIO ANALYSIS. 



87 



4. 8p©ll by sound- 



bitumen 


borealis 


ate 


wiseacre 


stolid 


bequeatti 


single 


do 


viscount 


strata 


bouquet 


sugar 


ink 


truculent 


splenetic 


circuit 


coffee 


brew 


tyrannic 


spouse 


blackguard 


uncle 


truths 


trar«ition 


squalor 


blouse 


finger 


troche 


trilobite 


sojourn 


bronchitis 


sure 


swarthy- 


tartaric 


sepulture 


placard 


truffle 


talc 


telegraphy 


sardonyx 


blatant 


tribunal 


tepid 


suffice 


research 



5. Aflix the long and short vowels as in previous exw- 
ci«es. 

Accent the first and fourth syllables — 

w-v-v-w I v-w-w-v. 

Aocent the second syllable — 

/ / / / 

w-v-v-w I v-w-w-v j tii-th-th-tii | th-th-th-th. 

Accent the fourth syllable — 

/ / / / 

b-d-p-t-p I w-v-f-v-w j th-th-SHsh-th | j-ch-^-ks-k. 

Without accent — 

sf-ksth-ksth i ksth-sf-keth | ef kath-ksthef. 

6. Pronounce carefully, as indicated in III., 5 — 



w/; 


nymph, lymph 


blU, 


troubl'st, deubl'it 


dih9, 


widths, breadth* 


hdd, 


rob'dst, prob'dit 


b^, 


rob'st, prob'st 


did, 


cradl'st, saddl'it 


ikt, 


milked, bilked 


gist, 


struggl'st, smuggl'st 


Uhs, 


healths, wealths 


gdd. 


begg'dst, drugg'dst 


Ifths, 


twelfths 


jdst, 


rag'dst, wag'dst 


IcU, 


filched, mulched 


Idst, 


hold'st, fold'st 


nths, 


months, plinths 


hnst, 


whelm'st, film'st 


v^hs, 


lengths, strengths 


Ivst, 


delv'st, helv'st 


ffist, 


sheath'st, breath'st 


Ipst, 


help'st, scalp 'st 



SS PRACTICAL BLOOUTION. 

IX. 

To THE Tkaohbr.— In the second section affix the long and short Toweli 
loands as before. 

1. Review Table of Elementary Sounds — 
f With natural force, 
I With great vigor, 
Voice Sownds : \ With soft whisper, 
I With loud whisper, 
l^With mixed voice and breath. 

Breath Sounds : \ t^'a 
Union Sownds : \ t^'a 



/ r, r ,f f 

2. w-v-f-f-v-w I dr-bl-pl-dw-gr-kr ] dr-bl-pl-dw-gr-kr 



ftsf, 


melt'st 


vkt, 


driv'lst 


rmdst, 


harm'dst 


/M, 


milk'st 


zdst, 


gaz'dst 


rndst, 


burn'dst 


mdsi^ 


doom'dst 


zlst, 


dazzl'st 


rvdst, 


curv'dst 


nvpst, 


thump 'st 


znst, 


reason'st 


rptst. 


harp'dst 


mtst, 


prompt'st 


thdst 


sheath'dst 


vldst, 


drivTdst 


ndst, 


bend'st 


ngdst, 


hang'dst 


zldst 


dazzl'dst 


ntst, 


want'st 


plst, 


rippl'st 


zndst, 


reas'n'dst 


ngkst, 


think'st 


klst, 


buckl'st 


pldst, 


rippl'dst 


rbst, 


curb'st 


knst, 


black'n'st 


tldst, 


settl'dst 


rdst, 


gird'st 


fist, 


trifl'st 


kldst, 


buckl'dst 


rjst, 


enlarg'st 


/nst, 


deaf nst 


kndst, 


black'n'ds* 


rlst, 


hurl'st 


thnst, 


length'n'st 


fldst, 


trifl'dst 


rmst, 


harm'st 


hldsU 


troubl'dst 


fndst. 


deafn'dst 


mst, 


learn'st 


didst, 


bridl'dst 


Iptst, 


help'dst 


rtst, 


hurt'st 


dndst, 


hard'n'dst 


rktst, 


lurk'det 


rkst, 


mark'st 


gldst, 


struggl'dst 


pndst, 


open'dat 


rchstf 


search'st 


rbdst, 


curb'dst 


thndst. 


length'n'dsl 


vdst 


lov'dst 


rldst, 


hurl'dst 


rchtst, 


search 'dst 



ARTICULATION — SEAT OF THE AOCSSTT, 80 

X. 



To THE Tkachse.— The rules of this lesson are too general, and the excep- 
tions too numerous, to make the rules of much practical henefit, other than to 
Bho-w general tendencies of the language. The chief value of this lesson vill 
consist in the frequent practice of the correct pronunciation of these and other 
■words which teachers and students will meet with in the course of their read- 
ing, and which fall under the several rules and exceptions here given. Thia 
practice will make the correct pronunciation of the words famiUar, and it is the 
•nlytrulf practical method. 



SEAT OF THE ACCENT, 

1. A syllable is a word or part of a word uttered with a 
single impulse of the voice. 

2. A word of one syllable is called a monosyllable ; of two, 
a dissyllable ; of three, a trisyllable ; of more than three, a 
polysyllable. 

3. The last syllable of a word is called the ultimate ; the 
next to the last is called the penult ; the third from the last, 
the antepenult ; the fourth from the last, the pre-antepenult. 

4. Of words of two syllables, nouns and adjectives gener- 
ally have the accent on the first syllable, and verbs on the 
second syllable. Examples : Nouns — abbot, comet, fossil, 
napkin, album, comma, antic, gallon, anvil, atom, linnet, 
garret, logic, basket, demon, organ, genus, bobbin. Adjec- 
tives — common, naval, lucid, dental, lurid, candid, dulcet, 
horrid, carnal, quiet, rabid, mental, rancid. Verbs — admit, 
affix, occur, impel, forbid, annex, commit, expel, concur, 
debar, excel, emit, dispel, demur, ferment, purloin. 

So general is this law that the exceptions often lead ua 
into error. Examples: Nouns — morass, recess, research, 
resource, romance, address, adept, adult, ally, allies, basalt, 
compeer, contour, finance, vendue, routine, recourse. Ad- 
jectives — canine, condign, robust, verbose, occult, prolix. 
Verbs — harass, ransack, gyrate, sojourn, preface, purport, 
comment. 

Some nouns and adjectives are distinguished from verba of 



'90 PRACTICAL ELOCDTIOir.^ 

tliG sam« spelling by this difference of accent ; as — accent, 
conduct, contract, insult, torment, concert, convict, escort, 
import, export, object, record, subject, abstract, conflict, 
protest, compound, desert, progress, project, retail, contrast, 
contest, confine, quarantine, — absent, frequent. 

5. Words of more than two syllables generally have the 
primary accent on the antepenult. Walker calls this the 
favorite accent of the language. Examples — disfjutant, 
hospital, industry, domicile, juvenile, crystalline, serpentine, 
coralline, centrifugal, interpolate, misanthropy, chalybeate, 
heliacal, chimerical, chirography, anachronism, simulta- 
neous, ammoniacal, reciprocity, demoniacal, interlocutor, 
homoeopathy, hypochondria, idiosyncrasy, dicotyledonous, 
trigonometrical, impracticability, monocotyledonous, valetu- 
dinarian, incommensurability, unintelligibility. 

Exceptions to this law often lead us into error, as — manu- 
mit, magazine, acclimate, defalcate, inundate, exculpate, 
exponent, condolence, oiDponent, hospitable, prebendary, 
formidable, cotyledon, conservator, explicable, contumely, 
despicable, nomenclature, orthoepy, orthoepist, peremptory, 
exemplary, obligatory, indisputable, indissolubly. 

6. English derivatives, or words derived from other words 
in the language, generally retain the accent of their primi- 
tives, as — mischievous, mountainous, serviceable, unhappi- 
ness, admiralty, fragmentary. 

Exceptions to this law frequently lead us astray, as— 
chastisement, comparable, disputable, lamentable, impiously, 
irreparable. 

7. Many words from the Latin and Greek, introduced 
into our language with little or »o change of orthography, 
retain the classical accent. The attempt to make such 
words conform to English analogy frequently leads ua into 
error. Examples — acumen, bitumen, horizon, paragoge, 
abtiomen, lyceum, museum, sonorous, decorum, mausoleum. 

8. In many words of very common usage, this analogy of 
the English prevails over the claissical accent, as — auditor, 
©rator, minister, senator, piethorjt-, * 



ARTICULATION— PREFIXES. 

9, Many words derived without change of orthograph.7 
from the French, are accented on the last syllable. Ex- 
amples—antique, bastile, bourgeois, chateau, corvette, finesse, 
giraffe, adieu, artiste, bouquet, coquette, debut, canaille, 
canard, blanc-mange, carte-blanche, depot, debris, eclat, 
encore, ennui, ^lite, entree, facade, machine, mel^e, mirage, 
monsieur, parquet, parole, parterre, penchant, physique, 
plateau, r^gicae, soiree, sortie, surtout, sang-froid, savant, 
souvenir, tableau, tirade, vignette, vedette, vendue, amateur, 
bagatelle, coterie, connoisseur, chevalier, cuirassier, debau- 
chee, debonair, dishabille, expose, mademoiselle, millionaire, 
nonchalance, prot^g^, reservoir, repertoire, recherche, sobri- 
quet, solitaire, tet5-a-t^te, vis-a-vis. 

10. When two words are used antithetically which differ 
only or chiefly in one of their syllables, the primary accent 
is transferred to that syllable ; as, He must increase but J 
must decrease. Did you say a new addition, or a new 
edition? Our sins of omission as well as of commission. Did 
she sitspect him or ea;pect him? 

In counting we say thir''teen, four^teen, fifteen, &c., but in 
answer to a question, as, " How many dollars did you pay for 
your coat," we should answer, " Fifteen''." When emphatic, 
the accent is quite evenly divided ; as, " They ate fourteeif^ 
Urge oysters for supper." 



XI. 
PREFIXES. 



To THE Teachbr.— The term " Prefixes," at the head of this lesson, Is used 
In ita broader sense, and Is made to apply to the beginning of a 'word, to that 
part which ia " fixed before," whether the word bo a primitive or a derivatiye, 

1. The letter a, as a prefix, when not accented, is sounded 
like Italian «, slightly obscured. The sound of long a in such 



PRACTICAL ELOCUTIOl*. 

position, should be carefully avoided. Examples : — ag&in. 
against, abaft, abash, abate, acute, adopt, alarm. 

At the end of a word or of a syllable, a, when unaccented, 
generally takes the same sound ; as, Cuba, America, algebra, 
sofa, idea, — banana, cabal, caboose, canal, canary. 

2. When bi and tri are used as prefixes, the i is usually 
long. Examples : —bicrenate, biennial, bifiorous, biforate, 
bilingual, bimana, binary, binervate, binomial, biography, 
biology, bipedal, bisect, bivalvous, triad, triaiogue, tribunal, 
tricennial, triennial, trifoliate, trilemma, trilobate, trilobite, 
trimeran, trimester, trimetrical, tripartient, tripetalous, trl- 
plicity, tripod, trisect, triumvir. 

The following exceptions occur : — biforine, bitumen, bitu- 
minous, tribune, trichina, trilogy, trimeter, tripedal, triphy- 
line, trisplanchnic, trisyllable, trisyllabic. 

With change of accent, the following may be either long 
or short : — biparous, bipartite, tripartite, triphyllous. 

Webster says, " The i is usually long in the initial syllables 
i, bi, chi, di, cri, pri, tHJ' 

3. Other words whose first syllable contains or ends in i 
or y are frequently mispronounced. The following require 
short i : — didactic, digest, digression, dilapidate, dimension, 
diminish, diploma, direct, divan, diverge, divert, divest, 
divulge, divide, fidelity, finance, financial, financier, miracu- 
lous, piano, piazza, pilaster, tirade, vicar, visor, hypocrisy, 
Italian, tyrannize, Tyrolese, tyromancy. 

These require long i or y : — chirography, chiropodist, 
divaricate, diverse, sinecure, siren, tiny, viscount, dioptrics, 
diurnal, tyrannic, tyrannicide, typal. 

The i or y may be either long or sbort in — dilate, dilemma, 
hilarity, minute [adjective), simultaneous, sliver, virago, viril, 
vituperate, vivacious, quinine, bison, hypothecate, hypothec 
nuse, hypothesis, typography. 

4. The letter n in the prefix con of the follovidng words, 
has the sound ofng : — concave, conclave, concord, concourse, 
conger, congo, congregate, congregation, congregational, con- 
gress, congruence, congruent, congruous, conquer, conqueror^ 
fsonquest, — concrete (con^orcw*). 



JLRTICULATION— PREFIXES. 



1^ 



But in the following, the n has its simple sound : congratu-* 
late, congressional, congruity. 

5. The letter o takes the sound of short u in the following 
words and their derivatives: — Domb, bombard, bombast, 
bombazine, bomb-shell, come, comely, comfit, comfiture, 
comfort, comfrey, company, compass, conjure, some, some- 
body, somehow, something, sometimes, somewhat, some- 
where. 

6. The letter x generally has the sound of ks, but in the 
prefix of the following words and their derivatives, it is equiv- 
alent to g2 : — exacerbate, exact, exaggerate, exalt, examine, 
example, exasperate, executive, executor, exemplar, exem- 
plary, exemplify, exempt, exert, exhale, exhaust, exhibit, 
exhilarate, exhort, exist, exonerate, exorbitant, exordium, 
exotic, exuberant, exude, exult. 

The sound of ks is retained in exhibition, exhortation, ext 
oursion, exoteric. 

7. Much diversity exists among orthoepists respecting the 
sound of s in the prefix dis. Webster gives it the z sound in 
a very few words ; Worcester and Smart in a larger number. 
The following words, with their derivatives, comprise quite a 
full list :— 



Webster. 




Worcester. 




dis-arm 


dis-arm 


dis-able 


dis-integrate 


dis~mast 


-aster 


-aster 


-animate 


-interested 


-may 


-cern 


-cern 


-authorize 


-join 


-member 


-dain 


-dain 


-band 


-joint 


-miss 


-ease 


-ease 


-bark 


-junctive 


-mount 


-honest 


-honest 


-burse 


-hke 


-order 


-honor 


'honor 


-gorge 


-lodge 


-organize 


-mal 


-mal 


-grace 


-loyal 


-relish 


-own 


-own 


-guise 


-mantle 


-robe 


-solve 


-solve 


-gust 


-mask 


-ruption 



The s is frequently incorrectly sounded like z in designate, 
desist, desolate, desolation, desultory, desuetude, desidera- 
tum. 



94 PRACTICAL ELOCUTION. 

8. The Bound of th in the prefix with, of the following words 
and their derivatives, should have the vocal quality, as dis- 
tinguished from the aspirate : — withal, withdraw, withheld, 
within, without, withstand ; also in the words with, without, 
withers, therewithal, wherewithal. But in the suffix with of 
the words forthwith, herewith, therewith, wherewith, th« 
weight of authority is in favor of the aspirate sound. 



xn. 

TERMINATIONS. 



1. Moat words ending in en drop the e in pronunciation ; 
as, fallen, stolen, swollen, often, heaven, even, given, driven, 
harden, soften, hasten, chasten, listen. 

Exceptions : 

a. After the liquids /, m, n, r ; as, pollen, woolen, flamen, 
hymen, omen, women, regimen, specimen, abdomen, acumen, 
bitumen, cerumen, legumen, catechumen, linen, siren, — 
except fallen, stolen, swollen. 

h. Aspen, chicken, hyphen, kitchen, lichen, marten, 
— jerken, latten, mynchen, paten, patten, platen, rowen, 
ticken, wicken, yewen. 

c. Divided usage — Eden, bounden, heathen, mittsn, 
sudden, sloven. 

2. Most words ending in el retain the e in pronunciation ; 
as, gravel, level, vessel, chapel, barrel, camel, cancel, channel, 
kennel, label, marvel, gospel, libel, hovel, novel, travel, 
tunnel, parcel, bushel, chisel, model, nickel, rebel, squirrel, 
tassel, travel. 

Exceptions : Chattel, drivel, easel, grovel, hazei, mantel, 
mussel, ravel, shekel, shovel, shrivel, anivel, iwiW, teasel. 



ABTICULATION— TERMINATIONS. 

weasel, — ^barbel, betel, drazel, mispickel, mangel-wurzel, ouse?^ 
rivel, scovel, swingel, toggel, towsel. 

3. a. Adjectives ending in ed usually retain the e; 2^ 
aged, crabbed, dogged, naked, picked, cragged, crooked, 
Jagged, peaked, ragged, rugged, wretched, wicked; but if i 
with another consonant precede e, the e is suppressed; as, 
brindled, circled, dimpled, cradled, crumpled. 

A few participles used as adjectives retain the e like other 
adjectives ; as, beloved, blessed, learned, winged, cursed. An 
exception is found in picked, used in the sense of selected ; as, 
* a hundred j9zc^ec? men." 

h. Verbs and participles ending in ed usually suppress 
the e ; as, beloved, blessed, learned, cursed, believed, feared, 
possessed, received. 

When the root ends in d or t, however, the e is necessarily 
retained ; as, acceded, collected, demanded, exhausted. 

c. Adverbs formed by adding ly, and nouns formed by ad- 
ding ness, to words ending in ed, retain the e; as, assuredly, 
confessedly, designedly, confasedly, renewedly, amazedness, 
composedness, blessedness. 

d. In compounds, as full-aged, sheath-winged, the e is 



e. In poetry the e is often retained when, in prose, it 
would be suppressed ; as. 

In notes, \rith many a winding bout 

Of Hoiked sweetness long drawn out.— A^Zfon. 

/. When ed follows an aspirate or breath sound other 
than h or t, the e is suppressed, and the d takes the sound of 
t; as, missed, passed, marked, laughed, sipped, matched, 
lashed, wished. 

4. Words ending in ine are frequently mispronounced. 

a. The following require long i : Asinine, brigandine, brig- 
antine, canine, cannabine, capitoline, carbine, celandine, 
cervine, columbine, cor\dne, crystalline, feline, internecine, 
leonin©, muscadine, metalline, galine, saturnine, serpentine^ 
sibylline, vespertine. 



96 PRACTICAL ELOCUTION. 

b. These require short i : Adamantine, benzine, bromine, 
calcimine, celestine, chlorine, clandestine, coralline, elephan- 
tine, engine, ermine, feminine, genuine, heroine, intestine, 
iodine, jasmine, masculine, morphine, nectarine, nicotine^ 
paraffine, pristine, rapine, strychnine, turbine, vulpine. 

c. The i may be either long or short in alkaline, aquiline, 
calcine, carmine, eglantine, mfantine, saccharine, vaccine. 

d. In a few words the i is equivalent to long e ; as, guillo- 
tine, bombazine, quarantine, machine, ravine, sardine (or 
sardine). 

e. Chemical terms ending in ine and ide generally require 
short i; as, benzoline, caseine, fibrine, fluorine, glycerine, 
lignine, margarine, oleine, stearine, bromide, chloride, 
iodide, oxide, sulphide. 

/. The i should be long in Apennine, Argentine, Palestine, 
Palatine ; short in Alexandrine, Augustine, Euxine, Jacobine, 
Philippine, Philistine, Tripoline; either long or short in 
Alpine, Aldine, Byzantine^ Clementine, Florentine, Levan- 
tine ; and equivalent to long e in Algerine, Sabine. 

5. Words ending in on preceded by c, ck, s, t, and some 
other letters, often suppress the o. Examples : — bacon, bea- 
con, beckon, blazon, button, cotton, crimson, damson, dea- 
con, glutton, lesson, mason, mutton, pardon, parson, person, 
poison, prison, reason, reckon, season, treason. 

6. In the ending il the i is suppressed in evil, weevil^ 
devil, and retained in cavil, civil, fossil, pencil. 

7. The i is retained in most words ending in in, but in 
basin, cousin, it is suppressed. 

8. The ending ain is generally pronounced In; as, captain^ 
mountain, fountain, certain. 



xni. 
UNACCENTED VOWELS. 

No one need hope to have an elegant pronunciation 
without attention to the vowels in unaccented syllables, yet 
the dictionaries leave those vowels unmarked except in a 
few first syllables. Unfortunately, too few persons, even 
among students of Elocution, study with care the " Principles 
of Pronunciation " contained in the first part of the larger 
dictionaries. 

Webster sajw, " When an unaccented syllable ends in a 
consonant, its vowel, if single, has in strict theory, its 
regular short or shut sound, though uttered somewhat more 
faintly, or with a less proportionate force, than in an accent- 
ed syllable, as in ^s-sign^, con^-dud, con^-flzct, &c. In many 
words of this class, however, the vowel is apt to suffer a 
change of its distinctive quality, passing over into some sound 
of easier utterance." The sound of u in urn, often called the 
* natural vowel,' and that of short u, are the vowel sounds of 
easiest utterance, and the sounds toward which many of the 
others tend when rendered obscure ; as, dollar, nectar, altar, 
alter, feather, nadzr, tapir, zephyr, actor, mirror, — idea, sofa, 
ballad, ballast, potato, window, orphan, dismal, compass, 
parable, culpable, enemy, strategy, charity, possible, cuticle, 
crucible, parody, analogy, calcitlate, mascwline, anal^/eis. To 
pronounce these with a broad ur or uh sound, as : nectwr, 
Actur, ballud, 'puhtsituh, dismwl, enw^my, charw^ty, analzi^sis, 
&c., is a fault which all chaste speakers carefully avoid. 

The following general principles may aid the student, but 
they are too broad to be wholly relied upon : 

1. Long a, long and short e, tend toward short i. 

2. Short a, Italian a, intermediate a, long and short 6, 
t9ud toward short u. 



§l8 S^JiGnCAL SLO0QPHa2?. 

5. Ooaleflo«nt« cur, »r, or, and ItaliaA a l611ow«d hj r, toniS 
toward ur. 

4. Long 00 tends toward short oo. 

Some of these tendencies are very slight, and others are 
very marked. The degree of each it is impossible to specify ; 
it can be learned only by hearing correct articulation. To 
some of those tendencies there seem to be exceptions, and 
this serves to increase the difficulty. The following exam- 
ples will be of advantage : 

1, verging toward i. — Monday, Tuesday, mountain, certain, 
village, cabbage, orange. But in 'chocolate,' 'delicate,' ' intri- 
cate,' 'ultimate,' we have exceptions, the a verging rather 
toward short e. The same is true in 'miscellany,' 'moment- 
ary,' and other words of similar termination. In verbs end- 
ing in ate the long a sound is usually retained. 

e, verging toward i. — Genesis, remorse, elegant, society, 
enemy, coffee, college. The e in society, enemy, elegy, &c., 
is sometimes corrupted into short u. 

6, verging toward 2. — Wicked, basket, riches. Here the 
proper bending is exceedingly slight. In some words, as 
poem, solemn, emblem, the e is frequently corrupted into 
short u. 

a,, verging toward H. — ^Palpable, culpable, mental, ballad 
cavalcade. 

a, verging toward u.—Gnha, sofa, comma, idea. 

a, verging toward u. — Douglass, compass, cutlass, breakfast, 
distance, gallant. 

6, verging toward H. — Polite, pomade, potato, tobacco. 

6, verging toward u. — (Commerce, companion, compel, 
pivot, fagot, mammoth. 

Coalescent ar, verging toward ur. — Parental, thereat, thereon, 
preparation. 

Coalescent er, verging toward ur, — Exasperate, assertion, 
conversation, perdition. 

Coalescent or, verging toward ur. — Camphor, languor, act«r, 
tenor, victor, captor, reformation. 



iJ^EIGUULTIOK— WOBDS OFTEIT MISPRONO^NCBB. 



99 



Italian a followed by r, verging toward ur. — Dollar, alt«r, 
nectar, barbarous. 

6b, verging toward 06. — To^daj^, to-morrow, together, erwdi- 
feion. 

Worcester marks vowels in unaccented syllables with a 
period or dot underneath ; Webster leaves them unmarked. 

It must be observed that Worcester employs this character 
to indicate a slight stress of voice, and not to note any par- 
ticular quality of sound, as will be seen in the follow- 
ing examples, in which the italicized vowels are thus 
marked : liar, palace, abbacy — ^brier, fiiel — elixir, ruin — actor, 
confess — truly, martj/r. 



XIV. 



WORDS OFTEN MISPRONOUHCED. 



To rax Teacher. — Hare the student pronounce these wards with a strongly 
aiarked accent. After the faults have been corrected, frequent repetition will 
soon fix the correct pronunciation. The leaaon will also afford further practice 
In phonetic spelling. 



1. 

adverse 


horizon archangel 


chastisement 


acclimatize 


adult 


acclimate archbishop 


component 


adjectival 


allies 


armistice archetype 


complaisance 


admirable 


archive* 


adversely aspirant 


misconstrue 


aerolite 


basalt 


albumen behemoth 


arquebuse 


climacteric 


brigand 


amateur bitumen 


expurgate 


aeronaut 


address 


antarctic canorous 


plethoric 


alabaster 


adept 


contrary chivalric 


precedence 


allegorist 


assets 


aroma caloric 


circuitous 


allopathy 


canine 


colporter communist 


contumely 


applicative 



PRACTICAL ELOCUTION. 



A, 

ally 


composite 


pyramidal athenaeum 


compensative 


occult 


confident 


telegraphist aureola 


conservator 


extant 


condolence 


excretory camelopard contumacy 


diverse 


connoisseur isothermal capillary- 


hymeneal 


contour 


coquetry 


legislative capitoline 


suicidal 


compeer 


controvert 


perfunctory chalcedony photographer 


frontier 


corridor 


periphrasis coliseum 


prolocutor 


excise 


illustrate 


provocative combatable irrefragable 


construe 


lethargic 


quadrupedal comparable apotheosis 


ornate 
3. 

overt 


expletive 


appro bative refutable 


pharmaceutist 


colportage promulgate recitative 


allopathist 


penult 


objurgate 


sacristan recognizance matutinal 


portent 


sepulture 


splenetic reconnoissance legislature 


surnamed defalcate 


subsidence reparable 


mediaeval 


quiniiie 


enervate 


sulphuric receptivity 


respirable 


decade 


gondola 


tartaric secretory 


reciprocity 


patois 


hegira 


vehement secretary 


octogenary 


placard 


inquiry 


virago sublunary 


indicatory 


pretence 


integral 


orchestra officinal 


Irrevocftbl© 


recess 


overseer 


mischievous pedagogy 


irrefiitjibld 



XV. 
mRDS OFTEN MISPRONOUHCED. 

To THE Teachek.— The diflStculties of this lesson have reference to syllabica* 
lion ; those of the last to accent. Have the student first tell the number o\ 
syllables in a word, and then pronounce the word firmly •with that number ol 
syllables. This lesson may also be used for phonetic spelling. 

1. 

ratio glacial neuralgia omniscient penitentiary 

series hideous palliative peculiarity plenipotentiary 

nuncio hygiene parhelion plagiarism amelioration 

satiate inertia pecuniary substantiate carbonaceous 

sentient javelin port-folio superficies femiliarity 



A»nCULATI03ir--W0RJDS OFTEN MI8PR0F0UNGE1>. 



spaDiel 

suavity 

tedious 

trivial 

£Ouave 

2. 
alien 
folio 
banian 
bestial 
caisson 
cordial 
fealty- 
finale 
genial 
genius 



jovial prescience umbrageous homoeopathic 

jujube sociable allegiance ignominious 

junior sociality ambrosial impartiality 

ordeal unctuous ameliorate inconvenience 

olio aphelion appreciate surveillance 



mollient 

morale 

nausea 

nauseous 

nescience 

pannier 

peculiar 

premier 

rationale 

ambrosia 



beauteous 

bestiality 

biennial 

bivouac 

bounteous 

breviary 

courteous 

flageolet 

guardian 

imagery 



associate 

auxiliary 

casualty 

cerements 

congenial 

convenient 

convivial 

egregious 

emollient 

magnesia 



magnolia 

Christianity 

discourteous 

fiduciary 

herbaceous 

immediate 

ingenious 

ingratiate 

ingredient 

initiate 



XVI. 

1. The letter b following m in the same syllable, is gen- 
erally silent, as in lamb, limb, numb, tomb, &c., but in 
rhomb and succumb, it is retained. 

2. The sound of sh is often incorrectly made like zh in 
such words as Asia, Asiatic, nausea, nauseous, Persia, 
Persian. 

3. The sound of t in the termination tie following s is gen- 
erally suppressed ; as, apostle, epistle, thistle, whistle, bustle, 
hustle, castle, jostle. 

4. Care should be taken to preserve the aspirate or 
breath sound of th in the plurals truths, youths, breaths. In 
the plurals baths, laths, paths, moths, cloths, oaths, mouths, 
sheaths, swaths, wreaths, the th is vocal. It is also vocal in 
booth and booths, but aspirate in withe and withes. 

In the adjective forms, as, blithe, lithe, and in the verb 
forms bath©, clothe, mouth, sheathe, wreathe, <fec,, the th is 
voeftl. 



102 PRACTICAL ELOCUTION. 

5. The letter a when used as an article is always given its 
long or name sound when emphatic. When unemphatic it 
becomes obscure Italian a, even verging toward short u when 
rendered very lightly. 

6. The article the, when emphatic, is pronounced with e 
long. When unemphatic before a vowel the e verges toward 
short i. Before a consonant sound, it passes through all the 
degrees of change from long e to obscure short u, according 
to the degree of emphasis. 

7. The vowel of the pronoun my, when quite unemphatic, 
may take the sound of short ^. In forms of address, so frc 
quently used by English dramatists, the short i is preferred; 
as, " My lord, the queen would speak with you, and pres- 
ently." 

8. The sound of s when followed by that of long u, or the 
pronoun you, is often incorrectly changed to sh. The sound 
of z followed by that of sh is, in like manner, changed to zh. 
The following examples may serve to illustrate these two 
faults: *God bless you,' 'We shall miss you,' * He will pass 
Utica,' * As sure as you go,' ' I was sure he would come.' 

9. While care should be taken not to drop the d of the 
conjunction and, yet to sound it fully, in every instance, 
as some authors would have us do, would be the veriest 
pedantry. In uttering the word, the organs pass from the 
n position into that of d, but the power given to the latter 
sound depends greatly npon the first sound of the next 
word. To finish the d perfectly would be not only to mar 
the fluency of speech, but also to break the magnetic chain 
of thought. 

10. With all the irregularities of our language, it is not to 
be wondered at that words are frequently mispronounced. 
Many of the forms are so arbitrary, and the caprices of the 
age so numerous, that few persons can claim to be above 
criticism in the matter of pronunciation. And yet, whatever 
apology or excuse for faults we may discover in this, we 
should be more ready to apply such excuse to others' pro- 
nunciation than to our own. 



BECEEATIONS IX AHTICULAlION. 10a 

XVII. 
RECREA mm IN ARTIGULA TION. 

To THE Teachkb. — While many of the exercises given under " Becre&tions 
in Articalation " may create amusement in a class, a higher motive than 
"Amusement" has prompted their insertion. Practice is here afforded i& 
nearly every form of difBicult articulation. 



1. Did you say a notion or an ocean ? 

2. Bring me some ice, not some mice. 
8. Thou laid'st down and slept'st. 

4. A big black bug bit a big black bear. 

5. It will pain nobody, if the sad dangler regain neithei 
rope. 

6. He crossed wastes and deserts, and wept bitterly. 

7. Life's fitful fever over, he rests well. 

8. Would that all difference of sects were at an end. 

9. Make clean our hearts. 

10. The old cold scold sold a school coal-scuttle. 

11. His beard descending swept his aged breast. 

12. Eight great gray geese grazing gaily into Greece. 

13. The cat ran up the ladder with a lump of raw livei 
in her mouth. 

14. Amos Ames, the amiable aeronaut, aided in an aerial 
enterprise at the age of eighty-eight. 

15. I battled with the waves, and stronger 
Grew, as stronger grew the gale. 



l*RACriCAL ELOCUTION. 

16. Thou bridl'dst thy tongue, wreath'dst thy lips with 
smiles, imprison'dst thy wrath, and truckl'dst to thine 
enemy's power. 

17. Thou reason'dst falsely, harden'dst thine heart; 
smother'dat the light of thine understanding, hearken'dst to 
the words of lying lips, and doom'dst thyself to misery. 

18. He accepts the office, and attempts ty his acta to 

conceal his faults. 

19. If he reflect, he will take prompt means to secur* 
their clubs and save his ribs. 

20. When Ajax strives some rock's vast weight to throw, 
The line, too, labors, and the words move slow ; 
Not so when swift Camilla scours the plain, 

Flies o'er the unbending corn, and skima along th« 
main. 

n. 

1. She says she shall sew a sheet. 

2. Old age has on their temples shed h«r iilvwr froit. 

3. Charles Smith's Thucydides. 

4. He sawed six long, slim, sleek, slender saplings. 

5. The peevish, feeble freeman feebly fought for freedom. 

6. A rural rule" truly rural. 

7. Don't run along the wrong lane. 

8. Oh, the torment of an ever-meddling memory I 

9. She could pain nobody. 

10. Five wise wive* we*v» withered wltliig. 

11. A snowy she«t, a? if each surge upturned * naflcr'fi 
shroud. 

12. Summer showers and soft sunshine shed sweet influ* 
ences on spreading shrubs and shooting seeds. 



B3CREATI0NS IN ARTICULATIOST. 105 

13. And I know that the witness which he witnesseth of 
me is true. 

14. He was attacked with spasms, and died miserably by 
the road -side. 

15. Death ravaged for months throughout the whole 
length and breadth of the land. 

16. Whelply Whewell White was a whimsical, whining, 
whispering, whittling whistler. 

17. Thirty-three thousand and thirty-three thoughtless 
youths thronged the thoroughfare, and thought that they 
could thwart three thousand thieves by throwing thimbles at 
them, 

18. Onr eagle shall rise 'mid the whirlwinds of war, 
And dart through the dun cloud of battle, his eye. 

19. When loud surges lash the sounding shore, 

The hoarse, rough verse should like the torrent roar. 

20. Thou that dost scare the world with tempests set on 

fire, 
The heavens with falling thunderbolts, or fill 
The swift dark whirlwind that uproots the woods, 
Where is the mortal that forgets not at the sight 
Of these tremendous tokens of thy power. 
His pride, and lays his strifes and follies by ? 

in. 

1. Some shun sun-shine ; do you shun sun-shine ? 

2. She sells sea-shells ; shall he sell sea-shells? 

3. All night it lay an ice drop there. 

4. His crime moved me. 

5. The magistrates ought to arre«t th* roguw «p«®dily. 

6. Laid in the cold, cold ground. 

7. As thou found'st, so thou keep'st me. 



PRACTICAL ELOCUnOH. 

8. He built a nice house near the lake, and shouteiS, 
** Ice-cream for two young ladies." 

9. Oh, studied deceit I what a sad angler thou art! 

10. Such pretty pranks Frank'i prawna play in the tanka. 

11. Kemuel Kirkhani Karnes cruelly kept the kiss that 
his cousin Catharine Kennedy cried for. 

12. Thou lighten'dst his cares, strengthen'dst hia nenres, 
and lengthen "dst his life. 

13. Thou lov'dst nature's wildest haunts ; thou wander'dst 
through the deepest forests, climb'dst the loftiest mountains, 
eiplordst the deepe.st caverns, linger'dst by the noisiest 
itreams, look'dst upon the ocean, and listen 'dst to its roar. 

14. Regardless of troubles and wrongs, he curbed the anger 
of that disturbed rabble. 

15. He laughs, and quafis his ale, knowing that the rafts 
and skiffs are on the reefe near the cliflfe. 

16. Eound the rough and rugged rocks the ragged rascals 

rudely ran. 

17. Then honor shall weave of the laurel a crown, 
That beauty shall bind on the brow of the brave. 

ISw Beneath the booth, I found baths, cloths, laths, moths, 
sheaths, paths, and wreaths. 

19. The hidden ocean showed itself anew, 
And barren wastes still stole upon the view. 

20. Thrice six thick thistle sticks thrust straight through 
three throbbing thrushes. 

21. I said '"'hterary, literally, literarily," not "literally, 
literary, hterarily." 

22. A storm ariseth on the sea. A model vessel is struggling 
amidst the war of elements, quivering and shivering, shrink- 
ing and battling like a thinking being. The merciless, rack- 
ing whirlwind.'?, like frightful fiend?, howl and moan, and 
send fcharp, shrill shrieks through the creaking; cordage, 



BECBEAnONS Df AKTICDULTION. 



mapping th? =hee:s and masts. The sturdy sailors stand to 
their tAsk*, and weather the ievereat «torni of th« •4MU8on. 



IT. 

1. A shot-silk sash shop. 

2. A sure sign of simjshine. 

S. Be the- same in thine own act and valdr. 

4. Goodness centers in the heart. 

5. Oat the pulpy pumpkin and put it in a pipkin. 

6. I said, " a knap-sack strap," not '"' a knap-sack'a strap." 

7. Henry Hinghani has hung his harp on the hook 
where he hitherto hung his hope. 

S» Thou mangrdst his writings, trifl'dst with his affec- 
tions, and hurl'dsf him from his high position. 

9. Thou kindl'dst his hopes, but robb'dst him of his 
peace : thou blacken'dst his character, and troubl'dst his life. 

10. He reads the acte of government, and expects to learn 
Ihe &cta in the case. 

11. IMrectly after these accidents, numerous attempts 
were made to emigrate. 

12. Gibeon Grordon Grelglow, the great G/eek gram- 
marian, graduated at Grilgrove College. 

13. Prithee, blithe youth, do not mouth yoni words when 
you wreathe yonr fece with smiles. 

14. He spoke reasonably, philosophically, disinterestedly, 
and yet particularly, of the'unceremoniousness of their com- 
mnnicability, and peremptorily, authoritatively, unhesitat- 
ingly declared it to be wholly inexplicable. 

15. The laurel-crowned clown orouch«d <X)w«ring intc 
khe cupboard. 



PRACTICAL ELOCOTIoar. 

16. His exclamation was, "Chaste stars!" not "Chas« 
tars ! " 

17. Masses of immense magnitude move majentically 
through the vast empire of the solar system. 

18. From thy throne in the sky, thou look'st and laugh'st 
at the storm, and guid'st the bolts of Jove. 



19. He had respectable talents, but was objectionable to 
le people from his wai -* • • ' 
truckle to men in power. 



the people from his want of principle, and his readiness td 
jkle to 



1. The sun shines on the shop signs. 

2. Sheba Sherman Shelly sharpened his shears and 
sheared his sheep. 

3. Benjamin Bramble Blimber, a blundering banker, bor- 
rowed the baker's birchen broom to brush the blinding cob- 
webs from his brain. 

4. That fellow shot a minnow on a willow, in the narrow 
meadow, near the yellow house. 



5. Did 



i you say you saw the spirit sigh, or the spirit's eye, 
irit's sigh ? I said I saw the spirit's eye, not the spirit 
the snirit's sisrh. 



or the spirit's sigh ? I sai 
sigh, nor the spirit's sigh. 



6. 



12. House, and the hound, and the horn, that 

belonged to the 

11. Farmer, that sowed the corn, that kept th« 

10. Cock, that crov/ed in the morn, that waked the 

9. Priest all shaven and shorn, that married the 

8. Man all tattered and torn, that kissed the 

7. Maiden all forlorn, that milked the 

6. Cow with the crumpled horn, that tossed the 

5. Dog that worried the 

4. Cat that killed the 

3. Rat that ate the 

2. Malt that lay in the 

X. House that Jack built. 



EBCREATIONS IN ASTICULATiON. 1^* 

7. Theophilus Thistle, the successful thistle sifter, in sifl- 
ji,^ a sieve full of unsifted thistles, thrust three thousand this- 
tles through the thick of his thumb. Now if Theophilus This- 
tle, the successful thistle sifter, in sifting a sieve full of unsifted 
thistles, thrust three thousand thistles through the thick oi 
his thumb, see that thou, in sifting a sieve full of unsifted 
thi«:tle3, thrust not three thousa.nd thistles through the thick 
of thy thumb. Success to the successful thistle sifter. 

8. A day or two ago, during a lull in business, two little 
boot-blacks, one white and one black, were standing at the 
corners doing nothing, when the white boot-black agreed to 
black the black boot-black's boots. The black boot-black 
was of coui*se willing to have his boots blacked by his fellow 
boot-black, and the boot-black who had agreed to black the 
black boot-black's boots went to work. 

When the boot-black had blacked one of the black boot- 
black's boots till it shone in a manner that would make any 
boot-black proud, this boot-black who had agreed to black 
the black boot-black's boots refused to black the other boot 
of the black boot-black until the black boot-black, who had 
consented to have the white boot-black black his boots, 
should add five cents to the amount the white boot-black 
had made blacking other men's boots. This the boot-black 
whose boot had been blacked refused to do, saying it was 
good enough for a black boot-black to have one boot blacked, 
and he didn't care whether the boot that the white boot- 
black hadn't blacked was blacked or not. 

This mj de the boot-black who had blacked the black boot- 
black's boot as angry as a boot-black often gets, and he 
vented his black wrath by spitting upon the blacked boot 
of the black boot-black. This roused the latent passions of 
the black boot-black, and he proceeded to boot the white 
boot-black with the boot which the white boot-black had 
blacked. A fight ensued, in which the white boot-black who 
had refused to black the unblacked boot of the black boot- 
black blacked the black boot-black's visionary organ, and 
in which the black boot-black wore all the blacking off hii 
blacked boot in bootinsr the white boot-black. 



TI. 

Shrewd Simon Short ?ewcd shoes. Seventeen iummers' 

storms and sunshine, saw Simon's small, shabby shop stand- 
lug eta-unch, «saw Simon's self-same sign still swinging 



110 PRACTICAL ELOCUTION". 

eilently specifying : " Simon Short, Smithfleld's sole survir-. 
ing shoemaker. Shoes sewed and soled superfinely." 
Simon's spry sedulous spouse, Sally Short, sewed shirts, 
stitched sheets, and stuffed sofiis. Simon's six stout sturdy 
sons — Seth, Samuel, Stephen, Saul, Shadrach and Silas, sold 
sundries. Sober Seth sold sugar, starch, spicos ; simple Sam 
sold saddles, stirrups, screws ; sagacious Stephen sold silks, 
satins, shawls ; skeptical Saul sold silver salvers, silver 
spoons; selfish Shadrach sold shoe strings, soaps, saws, 
skates ; slack Silas sold Sally Short's stuffed sofas. 

Some seven summers since, Simon's second son, Samuel, 
saw Sophia Sophronia Spriggs somewhere. Sweet, sensible, 
smart Sophia Sophronia Spriggs ! Sam soon showed strange 
symptoms. Sam seldom stayed at the store selling saddles, but 
sighed sorrowfully, sought Sophia Sophronia's society, sang 
several serenades slily. Simon stormed, scolded severely, 
said Sam seemed so silly, singing such shameful, senseless 
songs. 

" Strange Sam should slight such splendid summer sales," 
said Simon. " Strutting spendthrift ! shatter-brained sim- 
pleton ! " 

"Softly, softly, sire" said Sally; "Sam's smitten — Sam'a 
spied a sweetheart." 

" Sentimental schoolboy ! " snarled Simon ; " Smitten ! Stop 
such stuff!" 

Simon sent Sally's snuff-box spinning, seized Sally's scis- 
sors, smashed Sally's spectacles, and scattered several spools. 
"Sneaking scoundrel! Sam's shocking silliness shall sur- 
cease ! " Scowling Simon stopped speaking, starting swiftly 
fihopward. Sally sighed sadly. Summoning Sam she spoke 
sweet sympathy. 

" Sam," said she, " sire seems singularly snappy : so, son, 
stop strolling, stop smoking segars and spending specie super- 
fluously; stop sprucing so; stop singing serenades, — stop 
short : sell saddles, son ; sell saddles sensibly ; see Sophia 
Sophronia Spriggs soon; she's sprightly, she's staple, so 
solicit and secure Sophia speedily, Sam." 

" So soon ? so soon ? " said Sam, standing stock still. 

"So soon I surely," said Sally, smiling, "specially since sire 
ishows such spirit." 

So Sam, somewhat scared, sauntered slowly, shaking stu- 
pendously^. Sam soliloquizes : 

" Sophia Sophronia Spriggs Short — Sophia Sophronia 
Short, Samuel Short's spouse — sounds splendid! Suppose 
she should say — she sha'n't I " 

Soon Sam spied Sophia starching shirts and singing softly. 



RECREATION« IN ARTICULATION. Ill 

Seeing Sam she stopped starching and saluted Sam smilingly. 
Sam stammered shockingly : 

" Sp-sp-splendid summer season, Sophia." 

*' Somewhat sultry," suggested Sophia. 

"Sar-sartin, Sophia/' said Sam. (Silence seventeen seo 
ends.) 

" Selling saddles still, Sam ? " 

" Sar-sar-sartin," said Sam, starting suddenly. " Season's 
somewhat soporific," said Sam, stealthily staunching stream- 
ing sweat, shaking sensibly. 

"Sartin," said Sophia, smiling significantly. "Sip some 
«weet sherbet, Sam." (Silence sixty seconds.) 

" Sire shot sixty sheldrakes, Saturday," said Sophia. 

" Sixty ? sho ! " said Sam. (Silence seventy-seven sec- 
onds.) 

" See sister Susan's sunflowers," said Sophia, sociably scat- 
tering such stiff silence. 

Sophia's sprightly sauciness stimulated Sam strangely : so 
Sam suddenly spoke sentimentally : " Sophia, Susan's sun- 
flowers seem saying, " Samuel Short and Sophia Sophronia 
Spriggs, stroll serenely and seek some sequestered spot, some 
sylvan shade. Some sparkling spring shall sing soul-sooth- 
ing strains J sweet songsters shall silence secret sighing; 
auper-angeli'^ sylphs shall — ' " 

Sophia smckered : so Sam stopped. 

" Sophia," said Sam, solemnly. 

" Sam," sf^id Sophia. 

" Sophia, itop smiling. Sam Short's sincere. Sam's seek* 
ing some sweet spouse, Sophia. Speak, Sophia, speak! 
Such suspense speeds sorrow." 

" Seek sire, Sam, seek sire." 

So Sam sought sire Spriggs. Sire Sprigs said, "Sartin.'* 

Seven short sabbaths later saw Sophia Sophronia Sprigg» 
the aixxilirig spous* of Simon Short's son Samuel. 



EXPRESSION. 



True Expression consists in the most natural and effective 
giving out of sentiment or emotion. It may be by form, 
color, language, movement, or sound. 

In Elocution, correct Expression relates to those adapta- 
tions of the human voice necessary to convey the meaning 
and spirit of the author. It involves a proper use of all the 
physical organs, but only becomes effective through the exer- 
cise of the intelledual and emotional faculties. Appropriate 
expression constitutes the soul power of spoken language. 

The word signifies giving out, and therefore presupposes 
something within. Hence it is of first importance to the Ex- 
pression of a thought that the speaker have within him the 
thought to be expressed. 

To this end he should make a thorough analysis of the 
language, and should answer for himself such questions as 
the following : What is the prevailing thought in the pas- 
sage? What are the subordinate thoughts, and how ar« 
they related to the prefv ailing thought? Is any part of the 
sentence merely incidental to the main sentence, and how 
near or distant is the relation? What was the probable 
state of the author's mind when he expressed the thought ? 
What were the circumstances which called it forth? 
How should you feel, and how would you have expressed the 
same sentiment, had the same circumstances moved you? 

The mind will thus be led to a fiill and ^ust comprehension of 
the sentiment, and a sympathy will be awakened. A compre 
hension of the thought will render it intelligent in its exprct^ 
sion. Sympathy with the thought will give spirit to the ex 
pression. Let the student ever keep in mind that no skill of 



3EXPEESSI0N— MODULAMON. 118 

art can substitute for intelligence and ^rit in oral expression. 

Ife is, however, yet necessary that the utterance be under 
such control that it may be made to harmonize with all 
the infinite hghts and shades of thought. True expression 
should be carefully distinguished from mere fervor of spirit 
and emotional violence. It is infinitely more than this; it is 
spirit put under law. It is power under control. Herein con- 
sists the art of adaptation. The three great essentials, then, 
which every speaker should keep before him, are co'tnpre' 
hension. sympathy, adaptation. 

The changes of voice necessary to expression constitute 
the modulatioTH of speech. 



MODULATION, 

Modulation consists in the adaptation of speech to th« 
sentiment it is designed to convey. The various changes or 
modulations are quality, pitch, force, time, and slides, or in- 
flections. 

QUALITY. 

NoTS. — Quality concerns the kind of Toice and its felatlon to th« kind or 
quality of sentiment. It has been fully treated as an clement of vocal culture 
In its proper place under that head, though its pra^rtical application, as an 
element of expression, belongs to Modulation. For discussion and exercises, »ie 
page 59. 

PITCH. 

Pitch relates to the High and Low of the voice. 

Note.— Although the different degrees of Pitch are determined by the musical 
scale, the changes are usually produced by slide, while in music they are usually 
produced by steps. 

Pitch, like the other modulations, must 6e found in the 
sentiment. There is up and down in thought and feeling, 
Joy and victory are up. Melancholy and awe are dovm. To 
respond to these qualities of sentiment, the sense must bd 
quick to perceive, and the voice must be capable of prompii 
and graceful change, either by slide or step. 



'lU PRACmCAL EL©CUTION» 

The different degrees of Pitch are produced by the dttBtr^ 
ent degrees of tension of the vocal cords. 

Natural or unemotional sentiment will leave the vocal cords in" 
their most natural condition, and they will produce a natural 
or medium tone. 

Exaltation of spirit will cause a tension of the vocal cords, 
and they will produce a correspondingly high tone. 

Depression of spirit will cause the vocal cords to relax, and 
the tone will be low. 

There are, therefore, in Elocution, three natural divisions 
of Pitch, — Medium, High, and Low. From these, other divi- 
sions may be made. 

NoTK 1.— Each of these divisions must necessarily eorer a range or variety of 
tentiment. When the student is satisfied that the sentiment belongs to the 
medium range, or the high oi low range, he is likely to adapt the changes 
within that range more gracefully and less mechanically than if he adapts his 
Pitch too strictly to the musical scale. By the latter method he is liable to 
speak by the musical tones rather than by the speaking tones. 

Note 2.— The student should most carefully guard the quality of the tone fai 
aie practice of the High and Low extremes. 

Language of Medium Pitch. — Unemotional language, such 
as ordinary conversation, simple narration, and plain 
description, and all language of natural full force, should be 
expressed within the range of Medium Pitch. 

Language op High Pitch. — Passages of calling, command, 
gayety, joy, victory, and extreme grief, are expresbed within 
the range of High Pitch. 

Language of Low Pitch. — Melancholy, reverence, awe, 
despair, and language of the supernatural, are expreesed 
within the range of Low Pitch. 



EXAMPLES FOR PRACTICE. 

varieties op medium pitch. 

1. The city and republic of Carthage were destroyed by 
the termination of the third Punic war, about one hundred 
and fifty yeara before Christ. 



3. We must educate! We must educate! or we must 
perish by our own prosperity. If we do not, short from the 
cradle to the grave will be our race. — Lyman Beecher. 

3. Blessed are the merciful : for they shall obtain mercy. 
Blessed are the pure in heart : for they shall see God. Blessed 
are the peacemakers : for they shall be called the children ol 
Qod.— Bible. 

4. Up from the meadows rich with corn, 
Clear in the cool September morn, 
The clustered spires of Frederick stand 
Green-walled by the hills of Maryland. 

— /. O. Whm^r, 

5. So through the night rode Paul Revere ; 

And so through the night went his cry of alarm 

To every Middlesex village and farm— 

A cry of defiance and not of fear, 

A voice in the darkness, a knock at the door. 

And a word that shall echo forevermore I 

For, borne on the night wind of the Past, 

Through all our history to the last, 

In the hour of darkness, and peril, and need. 

The people will waken and listen to hear 

The hurrying hoof-beats of that steed, 

And the midnight message of Paul Revere. 

-H. W. LonafeUow. 

VoT selections containing additional examples of Mediuia 
Pitch, see Elocutionist's Annual, No. 4, pages 19 and 137 ^ 
No. 6, pages 135 and 138. 

TAEIEITEg OP HIGH PITCH. 

tm Half a league, half a league. 

Half a league onward, 
All in the valley of death 
Rode the six hundred. 

" Forward, the Light Brigade I 
Charge for the guns I " he said : 
Into tho valley of Death 
Rode the six hundred. 



116 ^RAaOOAI. BLOGUTI^JiT. 

2. I come I I come I — ^ye have called me long : 
I come o'er the mountahis with light and song I 
Ye may trace my step o'er the wakening earth. 
By the winds which tell of the violet's birth, 
By the primrose stars in the shadowy grass, 
By the green leaves opening as I pass. 

— Mrs. H&mans. 

B. " Young men, ahoy ! " 
"What is it?" 

" Beware ! beware ! The rapids are below you ! " 
" See how fast you pass that point ! TJp with the 
helm ! Now turn ! Pull hard ! Quick ! quick ! quick 1 
pull for your lives ! pull till the blood starts from your nos- 
trils, and the veins stand like whip-cords on your brow ! " 

— John B. Gough. 

4. Go ring the bells and fire the guns, 

And fling the starry banners out ; 
Shout " Freedom ! " till your lisping onea 
Give back their cradle shout. 



5. Make a joyful noise unto the Lord, all the earth : make 
a loud noise, and rejoice, and sing praise. Sing unto the Lord 
with the harp ; with the harp and the voice of a psalm. 
With trumpets and soimd of cornet make a joyful noise be- 
fore the Lord, the King. Let the sea roar, and the full- 
ness thereof; the world, and they that dwell therein. 

Let the floods clap their hands: let the hills be joyful 
together before the Lord ; for he cometh to judge the 
earth : with righteousness shall he judge the world, and the 
people with equity. — Bible. 

6. They strike ! hurrah ! the fort has surrendered I 
Shout ! shout ! my warrior boy. 

And wave your cap, and clap your hands for joy. 
Cheer answer cheer, and bear the cheer about. 
Hurrah ! hurrah ! for the fiery fort is ours. 
" Victor}^ ! victory ! victory ! " 
Is the shout. 
Shout for the fiery fort is ours, and the 'field 
And the day are ours ! 

for selections containing additional examples of Higb 



EXPRESSION— EXAMPLES OF LOW PITCH. 117 

Pitcbj see Elocutionist's Annual, No. 1, page 143 ; No. 2, page 
123; No. 3, page 147. 

VARIETIES OF LOW PITCH. 



1. Tis midnight's holy hour, — and silence now 

Is brooding like a gentle spirit o'er 
The still and pulseless world. Hark ! on the winds 
The bell's deep tones are swelling — 'tis the knell 
Of the departed year. 

— Geo. D. Prentice, 

2. So live, that when thy summons cornea to join 
The innumerable caravan that moves 

To that m3^sterious realm, where each shall take 
His chamber in the silent halls of death, 
Thou go not, like the quarry-slave at night. 
Scourged to his dungeon, but sustained and soothed 
By an unfaltering trust, approach thy grave 
Like one who wraps the drapery of his couch 
About him, and lies down to pleasant dreams. 

— William Cullen Bryard, 

8. Your sorrows, O people, are his peace ! Your bells and 
bands, and muffled drums sound triumph in his ear. Wail 
and weep here ! Pass on ! — Beecher, 

4. My father's spirit in arras ! all is not well ; 

I doubt some foul play : would the night were come ! 
Till then sit still, my soul : Foul deeds will rise, 
Though all the earth o'erwhelms them, to men's ej''^, 

— Shakspeare. 

5. In thoughts from the visions of the night, when deep 
sleep falleth on men, fear came upon me, and trembling, 
which made all my bones to shake. Then a spirit passed 
before my face ; the hair of my flesh stood up : it stood still, 
but I could not discern the form thereof: an image was before 
mine eyes ; there was silence, and I heard a voice, saying, 
Shall mortal man be more just than God? Shall a man be 
more pure than his maker ? — Bible. 

For selections oontaining additionsi,! examplsa of Lovf 



118 PSACnCAL ELOCUnOlff. 

Pitch, see Elocutionist's Annual, No. 2, page 40 ; No. 8, page* 
9 and 126. 

FOBcac. 

Force relates to the Loud and Soft of the voice. 

The Force of speech must be regulated by the intensity of 
the emotion which the sentiment inspires. We think and 
feel with different degrees of intensity. We should apeak 
with corresponding degrees of Force. 

The changes of Force are produced by the different degrees 
of power with which the breath is applied upon the vocal 
cords. 

The student should not mistake mere noise or physical ex- 
ertion for Force. True Force includes the idea of moral 
power, and is often more manifest in a certain stateliness or 
majesty of tone than in great exhibition of voice and man- 
ner. It is the result of a uniform intensity of the whole 
being, and of such a repose as will reflect reserve power, 
which is, after all, the truest Force. 

The student is especially cautioned against the substitution 
of Pitch for Force. This is probably the most common error 
known to public speakers. The moral force of a passage or a 
discourse is often entirely neutralized by elevating the 
Pitch. Changes of Force should be made without change of 
Pitch unless the peculiar character of the thought requires 
both. 

Cultivation in Force follows the general principle laid 
down by all true elocutionary^ training, that it begins with pur6 
eonversaiion. The most natural Force is that which the culti- 
vated voice takes most readily in conversational utterance. In 
its relation to loud and soft it always approaches a medium be- 
tween the two extremes, and is therefore most appropriately 
called Mediwm, Force. From this the student may readily 
pass to the extremes of i^tt^and Subdued. 

[language of Medium Forci:. — Unemotional language, or 
language of ordinary convertation, «imple narratioit, aad 



B5PSKSSION— EXAMPLES OF MEDIUM FORCE, 119 

plain description, is expressed within the diflFerent degrees ol 
Medium Force. 

Language of Full Foece. — Passages of defiance and 
anger, bold, declamatory utterances, shouting, calling and 
rejoicing, require Full Force. 

Language of Subdued Force. — Sentiments of tenderness, 
quiet, pathos, melancholy, reverence and awe, should be 
uttei-^d with Subdued Force. 



EXAMPLES FOR PRACTICE. 

VARIETIES OF MEDIUM FORCE. 

1. I grieve for life's bright promise, just shown and then 

withdrawn ; 
But still the sun shines round me , the evening bird 

sings on, 
And I again am soothed, and, beside the ancient gate, 
In this soft evening sunlight, I calmly stand and wait. 

2. Miss Kindly \a> aunt to everybody, and has been so 
lon^ that none remember to the contrary. The little chil- 
drep love her ; she helped their grandmothers to bridal orna- 
ment three-score years ago. — Pcurker. 

8. And there shall be no night there; and ther need 
no c»-ndle, neither light of the sun ; for the Lord God giveth 
them light : and they shall reign for ever and ever. — Bible. 

4. If to do were as easy as to know what were good to do, 
chapeis had been churches, and poor men's cottages, princes' 
palaces. It is a good divine that follows his own instructions. 
I can easier teach twenty what were good to be done, than 
be on"^ of the twenty to follow mine own teaching. The 
brain may devise laws for the blood ; but a hot temper leaps 
ove'' a cold decree. — Shakspeare. 

5. O Youn^ Lochinvar is come out of the West \ 
Through all the wide border his steed was the best; 



120 JPHACtlCAIi EL0C3UT1CW. 

And save nis good broadsword he weapons had naoi^i 
He rode all unarmed and he rode all alone. 
So faithful in love, and so dauntless in war. 
There iiever was knight like the young Lochinvar. 

— Scott, 

For selections containing additional examples of Medium 
Force, see Elocutionist's Annual, No. 2, page 152 ; No. 3, pagflp 

VARIETIES OP FULL FORCE. 



1. Were I an American, as I am an Englishman, while a 
single foreign troop remained in my country, I would never 
lay down my arms. Never! never I never !—>Piit^. 



2. Then the earth shook and trembled ; the foundations also 
of the hills moved and were shaken, because he was wroth. 
There went up a smoke out of his nostrils, and fire out of 
his mouth devoured: coals were kindled by it. He bowed 
the heavens also, and came down : and darkness was under 
his feet. — Bible. 



8. Then soon he rose ; the prayer was strong ; 

The Psalm was warrior David's song ; 
The text, a few short words of might— 
^'The Lord of Hosts shall arm the right I " 
He spoke of vv^rongs too long endured. 
Of sacred rights to be secured ; 

Then from his patriot tongue of flame 
The startling words of freedom came. 
The stirring sentences he spake 
Compelled txie heart to glow or quake, 
And, rising on the theme's broad wing, 

And grasping in his nervous hand 

The imaginary battle-brand, 
In face of death he dared to fling 
Defiance to a tyrant king. — T. B. Read, 

#. Our fathers raised their flag against a power to which, 
for purposes of foreign conqutjst and subjugation, Borne, in 
Ui« height oi her glory, is not to be compared--a power which 



SXPRESSIOF— EXAMPLES OF SUBDUED FORCE. 

has dotted the surface of the whole globe vdth her posses- 
sions and military posts ; whose morning drumbeat, follow- 
ing the sun in its course and kee^Ding pace with the hours, 
circles the earth with one continuous and unbroken strain of 
the martial airs of England. — Daniel Webster. 



5, Cromwell, I charge thee, fling away ambition ; 
By that sin fell the angels; how can man then, 
The image of his Maker, hope to win by 't ? 
Love thyself last : cherish those hearts that hate thee \ 
Corruption wins not more than honesty. 
***** Be just, and fear not 
Let all the ends thou aim'st at, be thy country's, 
Thy God's, and Truth's ; then if thou fali'st, O Crom- 
well, 
Thou fali'st a blessed nia,iijv.--Shahs^eare. 

For selections containing additional examples of Full 
Force, see Elocutionist's Annual, No. l,page 94; No. 3, pages 
M and 124 ; No. 4, page 45. 



VARIETIES OP SUBDUED FORCE, 

O sweet and strange it seems to me, that ere this day 

is done, 
The voice that now is speaking, may be beyond the 

sun- 
Forever and forever, — all in a blessed home — 
And there to wait a little while, till you and Effie 

come- 
To lie within the light of God, as I lie upon your 

breast — 
And the wicked cease from troubling, and the weary 

are at rest. — Tennyson. 

And, friends, dear friends, when it shall fei: 
That this low breath is gone from me. 
And round my bier ye come to weep. 
Let one, most loving of you all, 
Say, " Not a tear must o'er her fall ; 
He giveth His beloved, sleep." 

—JKra. Brouminff, 



122 pEAcncAL BLOcnnoiff. 

S, Like ae a father pitieth his children, io the Lorci 
pitieth them that fear him. For he knoweth our &fi>me ; he 
remembereth that we are dust. As for man, his days are as 
grass ; as a flower of the field, so he flourisheth : For the 
wind passeth over it, and it is gone ; and the place thereoi 
shall know it no moTe.-^Bible. 

4. But while she^ was still very young, — O very, very 
young, — the sister drooped, and came to be so weak that she 
could no longer stand in the \\dndow at night ; and then the 
child looked sadly out by himself, and when he saw the star, 
turned round and said to the patient, pale face on the bed, " I 
see the star 1 " and then a smile would come upon the face, 
and a little, weak voice used to say, " God bless my brother 
and the star ! " — ]>kken-8, 

5. *' &ther abbot 

An old man broken with the storms of state. 

Is come to lay his v^reary bones among ye ; 

Give him a little earth for charity I " 

So went to bed : where eagerly his sickneas 

Pursued him still : and, three nights after this, 

About the hour of eight (which he himself 

Foretold should be his last), full of repentance. 

Continual meditations, tears, and sorrows, 

He gave his honors to the world again. 

His blessed part to heaven, and slept in peace. 

— Shak^eare. 

For selections containing additional examples of Subdued 
Force, see Elocutionist's Annual, Ko. 5, page 112} No. 6, 
pages 104 and 105. 



Time has reference to the Fast and Slow of speech. 

Sentiment has in it the quality of movernent, and requiree 
a corresponding quality in the expression. 

Change of time are as indispensable to variety, as changes 
!>i Pitch and Force. Many speakers give proper attention to 
the latter, slid 9 skillfully, and use appropriate quality, who are 
f ^ monotoncwia, owing tc uniformity of Tim«. They move 



JJXPRESSION — EXAJSIPLES OF KEDIUM £AT£. X'JS 

through melancholy and gayety, the dirge and the battle, at 
the same degree of speed : or their individual words hav« 
merely the Time necessary to their pronunciation, or the 
pauses are measured, rather than adapted, or it may be that 
in all of these conditions, the Time is set and formal, so 
»hat the expression falls upon the ear with painful monotony. 

Appropriate changes of Time also reflect self-control, show- 
ing that slow or rapid utterance is not the result of tem- 
perament, or of an excited condition of the speaker, but that 
they are his servants, to be used according to hia need. 

Time is divided into Eate, Quantity, Pause. 

RATE. 

Time, ae applied to a collection of words, is called Hate. 

The natural divisions of Rate, are Medium, Fast, and SloWi 
from which other divisions may be made. 

Language of Medium Rate. — ^The various styles of unira- 
passioned discourse should be expressed within the varietiefi 
of Medium Rat«. 

Language of Rapid Rate,— Sentiments of gayety and joy, 
and language indicating hasty action or rapid change dl 
scene, should be expressed in Rapid Rate. 

Language op Slow Rate. — Descriptions of slow move^ 
in€»nt and sentiments of solemnity, reverence, awe, melMi- 
sJ- ^ly, and despair, should be expressed in Slow Bate. 



EXAMPLES FOR PRACTICE. 
varieties of medium eatb. 



L Maud Muller, on a summer's day, 

Raked the meadow, sweet with hay. 

^. Though I apeak with the tongues of men and of angeli. 
a >d have not charity, I am become as sounding brass, or a 
M^akling cymbal— ^*6fei 



124. PRACTICAL rXOCUTION. 

Z. ih« thanked me, and bade me if I had a friend that 
lov«d 11 er, I should but teach him how to tell my story, apd 
th*t would woo her. — SJiakspeare. 

4. To make men patriot*, to make men Christians, to 
make men the sons of God, let all the doors of heaven be 
opened, and let God drop down charmed gifts — winged im- 
aginations, all-perceiving reason, and all-judging reason. 
Whatever there is that can make men wiser and better — let 
it descend upon the head of him who has consecrated him- 
self to the work of mankind, and who lias made himself '«i 
orator for man's sake and for God's sake. — H. W. Beecher, 

For selections containing additional examples of Medf um 
Kat«, see Elocutionist's Annual, No. 1, page 101 ; No. 2, page 
117 ; No. 8, pag« 42 ; No. 6, page 171. 



VARIETIES OF RAPID RATE. 

1. A hurry of hoofs in a %'illage street, 

A shape in the moonlight, a bulk in the dark, 
And beneath, from the pebbles, in passing, a spark 
Struck out by a steed flying fearless and fleet ; 
That was all ! — Longfellow. 

2. A cannon which breaks ita moorings becomes abruptly 
some indescribable, supernatural beast. It is a machine 
which transforms itself into a monster. This mass runs on 
its wheels, like biUiard-balls, inclines with the roiling, 
plunges with the pitching, goes, comes, stops, seems to medi- 
tate, resumes its course, shoots from one end of the ship to 
the other like an arrov/, whirls, steals away, evades, pranceSj 
strikes, breaks, kills, exterminates. — Victor Hugo, 

8. Never, never: Come away, away; 
We'll burn his body in the holy place. 
And with the brands fire the traitor's houses I 
Take up the body. — Shakspeare. 

4. I chatter, chatter, as I flow 

To join the brimming river. 
For men may come, and men may go^ 
But I go on forever. — Tennyson, 



EXFfiESSlON— EXAMPLES OP SLOW BATB. IM 

So light to the croup the fair lady be swung, 
So light to the saddle before her he sprung ; 
' She is won ! we are gone, over bank, bush, and scaur : 
They'll have fleet steeds that follow ! " quoth young 
Lochin var. — Scott. 



For selections containing additional examples of Rapid 
Rate, see Elocutionist's Annual, 'No. 2, page 17 ; Ko. 3, page 
15; No. 6, page 17. 

VARIETIES OP SLOW RATE. 



I. And the raven, never flitting, still is sitting, still is sitting 
On the pallid bust of Pallas, just above my chamber-door ; 
And his eyes have ail the seeming of a demon's that is 

dreaming, 
And the lamp-light o'er him streaming throws his shadow 

on the floor ; 
And my soul from out that shadow that lies flost^ing o« 

the floor 
Shall be lifted— nevermore ! — Poe. 

2. Lord, our Lord, how excellent is Thy nam* in all th« 
earth, who hast set Th}'- glory above the heavens. When I 
consider Thy heavens, the work of Thy fingers ; the moon 
and the stars, which Thou hast ordained ; what is man that 
Thou art mindful of him ? and the son of man, that Thou 
visitest him ? For Thou hast made him a little lower than 
the angels, and hast crowned him with glory and honor. 
Thou madest him to have dominion over the works of Thy 
hands : Thou hast put all thing's under hie feet. Oh Lord, 
our Lord, how excellent is Thy nam« in all tk« ••rth. 

S Hear the tolling of the bells — 
Iron bells ! 
What a w^orld of solemn thought their monodf eoisip«U I 
In the silence of the night 
How w^e shiver with affright 
At the melancholy menace of their tone. 
For every sound that floats 
From the rust within their throats 
Is a groan.— Poe. 



l-tt PRACTICAL ELOCUTION". 

4. The hours pass slowly by — nine, ten, eleven — how 
solemnly the last stroke of the clock floats out upon the still 
air. It dies gently »way, swells out again in the distance, 
and seems to ba caught up by spirit- voices of departed years, 
until the air is filled with melancholy strains. It is the re- 
quiem of the dying year. 

Tenderly, mournfully it lingers upon the ear and sinks 
into the heart ; slowly and softly it dies away. The clock 
strikes twelve ; the grave opens and closes, and the old year 
is buried. — Brooks. 

5. To-morrow, and to-morrow, and to-morrow 
Creeps in this petty pace from day to day, 
To the last syllable of recorded time. 

— Shakgpeare. 

For selections coi.taining additional examples of Slow 
Kate, see Elocutionist's Annual, No. 1, page 105 j No. 2, page 
150; No. 3, page 153. 



COMBINATION EXERCISE. 



PITCH. 


FORCE. 


BATE; 


High. 


Full. 


Fast. 


Medium. 


Medium. 


Medium. 


Low. 


Subdued. 


Slow. 



To THK Teacher.— The above formula should be placed on the blackboard. 
Announce a sentence, — for example: "0 ye hard hearts 1 ye cruel men of 
Rome!'' and beginning with Medium Pitch, practice the student on the 
Medium and the extremes until he can make the changes with promptness and 
accuracy. Follow this with a similar exercise in Force and in Rate. When ho 
has mastered these changes in their individaal application, the exercise may be 
made more difficult by combining them according to the following : 

Illustration. — Ask the class to utter the Bsntence, "O ye hard hearts, re 
cruel men of Rome I " in Medium Pitch, Medium Force, and Medium Time. 
After proper explanation, point from one to another of the different degrees of 
the diflFerent modulations. You may point to Full, under Force. The student 
or class should give the sentence as before in Pitch and Rate, but change the 
Foree to Full. Tou may the& point to Slow, uodw Rate. The class shoaM 



EXPRESSION — EXAMPLES OF MEDIUM QUANTITY. 127 

retain the Full Force as at the preceding exercise, also Medium Pitch, as It has 
not yet been changed, but chanjje the Rate to Slow. These changes may be 
continued indefinitely, and cannot fail to give flexibility to the voice, and Sa« 
capability of a ready adaptation in response to the changes of sentiment. 



QUANTITY. 

Quantity is time upon words. 

Words stand for ideas, and according to the nature of the 
Idea to which the word refers, it is prolonged or shortened. 
The word " long " should receive more length of time than 
" short," though the latter contains more letters. " Cut " and 
" saw " should be pronounced according to the several ac- 
tions they represent. Reversed in time, they will fail to 
represent their respective meanings. 

Appropriate Quantity contributes greatly to the relative 
importance of the words in a sentence. 

Quantity may be Medium, Long, or Short. 

Words possessing no marked significance are uttered in 
Medium Quantity. 

Words of dignity and strength require Long Quantity. 

Words of impatience, stubbornness, and of sudden action, 
require Short Quantity. 



EXAMPLES FOR PRACTICE. 

VA-R.IETIES OF MEDIUM QUANTITY, 

1. Consider the lihes how they grow ; they toil not, they 
spin not, and yet I say unto you that Solomon in all his 
glory was not arrayed like one of these. — Bible. 

2. What's in a name ? That which w« call a rose, by any 
other name would smell as sweet— Shaktpmre. 

S. I own a mule. It is the first mul« I evw had, and wiH 
tee th« last one. My nimd is lay mule. — Oroitd. 



118 yKACTICAL ELOCUTION. 

VABIETIES OF LONG QUANTITY. 

1, O Death ! where is thy sting ? 

O Grave ! where is thy victory? 



-Bible. 



%, O the long and dreary Winter ! 

O the cold and cruel Winter ! 
Ever thicker, thicker, thicker 
Froze the ice on lake and river; 
Ever deeper, deeper, deeper 
Fell the snow o'er all the landscape, 
Fell the covering snow, and drifted 
Through the foreit, round the village. 

— Longfellow, 

S. To die — to sleep, — 

Ko more ! — and, by ?. sleep, to say we end 

The heartache, and the thousand natural shocks 

That flesh is heir to, — 'tis a consummation 

Devoutly to be wished. To die, — to sleep ; — 

To sleep ! — perchance to dream — aye, there's the rub • 

For, in that sleep of death, what dreams may come. 

When we have shuffled off this mortal coil, 

Must give us pause ! — Shakspeare, 

4. O lonely tomb in Moab's land ! 

dark Beth-peor's hill ! 
Speak to these curious hearts of ours, 

. And teach them to be still. 
God hath his mysteries of grace, — 

Ways that we cannot tell ; 
He hides them deep, like the secret sleep 
Of him he loved so well. 

— C. F, Alexander, 

TAIiLETIES OF SHORT QUANTITY. 

1. I can a« well be hanged, as tell the manner of it : it 
"Was mere foolery. I did not mark it. I saw Mark Antony 
offer him a crown ; — yet t'was not a crown neither, t'was one 
of these coronets, — and, as I told you, he put it by once ; but 
for ftil that, to my thinking, he would fain have had it. Then 
he offered it to hira again ; then he put it by again ; but, to 
»iy thiiikingj he v/as very loath to lay hi* fingera off it. And 



EXPRESSION-— ESAMPI^ES OF EHETORICAL PAUSE. "iM. 

then he offered it a third time ; he put it the third time by '. 
aiid still as he refused it, the rabblement hooted, and clapped 
their chapped hands, and threw up their sweaty night-caps, 
and uttered such a deal of stinking breath, because Gassar re- 
fused the crown, that it had almost choked C^sar ; for ha 
swooned, and fell down at it. — Shakspeare. 

2. " Quit the bust above my door ! 

Take thy beak from out my heart, and take thy form 
from off my door ! " — Poe. 

3. And he answering, said to his father, Lo, these m.any 
years do I serve thee, neither transgressed I at any tim.e thy 
commandment; and yet thou never gavest me a kid, thsdi I 
might make merry with my friends. — Bible, 



PAUSE. 

A pause is an interval of time between words. 

There are two divisions of Pause, Grammatical and Bhe* 
£orical. 

The Grammatical Pause is designed mainly as a guide to the 
author's meaning, and the author's meaning should indicate 
the character and length of the Pause. 

The Rhetorical Pause marks the special separation of 
words as reflected hj the general thought of the author, but 
which is not marked by the Grammatical Pause. The Rhe- 
torical Pause gives a peculiar force to the words which preceds 
or follow it. It also indicates present action of the mind, 
giving to speech the eflcct of freshness and originality. Th« 
Rhetorical Paus« is greatly varied in its application ; and ia 
length, passes through every conceivable period of tim«, 
from thd almost spiritual separation of words, to that of a 
short Grammatical Paus«. 

EXAMPLES FOR PRAGTICE. 

EXAMPLES OF RHETORICAL PAU8K. 

1. In slumbers of midnight the sailor boy lay, 

JJis hammQck swijug 1qos@ at th^e w^% ^^ ^1 ^'^JRdj 



1 PEAOTICAL ELOOU'JMOW. 

But watch-worn and weary, his cares flew awaf, 
And visiona of ha-pijiiieas danced o'er hu mind. 

— Dvmond. 

2. It is more blessed to give than to receive. — Bible. 

3. Add to your faith virtue ; and to virtue knowledge ; 
and to knowledge temperance ; and to temperance patience 

—Bible. 

4u With deep affection 

And recollection 
I often think of 
Those Shandon bells, 
i Whose sounds so wild would, 

• In the days of childhood, 

Fling round my cradle 
Their magic spells. — Fraiuns Mahony. 

The Rhetorical Pause frequently unites with the Gram- 
matical, taking from, or adding to, the time of the Grammati* 
o^\ Pause. 

EXAMPLES. 

1. " It must be so— Plato, thou rea«onest well ! — 

Else whence this pleasing hope, this fond desire, 

This longing after immortahty ? 

Or whence this secret dread, and inward horror, 

Of falling into naught? Why shrinks the soul 

Back on herself, and startles at destruction ? 

'Tis the divinity that stirs within us ; 

'Tis heaven itself, that points out an hereafter, 

And intimates eternity to man." — Addison. 

-. Pause a moment. I heard a footstep. Listen now. I 
heard it again ; but it is going from us. It sounds fainter, — 
still fainter. It is gone. 

P>. John, be quick. Get some water. Throw the powder 
overboard. " It can not be reached." Jump into the boat, 
then. Shove off. There goes the powder. Thank heaven, 
We are safe. 



l»a:l>RESSI02s--EXAMPLES Oi' SLIDES. 1 

SLIDES. 

The Slide is a change of pitch upon a word. 

Slides are upward and downward. 

The Upward and Downward Slides may be united. They 
then are known as the Waye or Circumflex. 

The lights and shades of thought which cannot be ex- 
pressed by the changes of Quality, Pitch, Force, or Time, are 
gathered up by the slide, and the expression is rendered com- 
plete. 

The slides of the voice contribute, most of all the modu- 
lations, to the accuracy of speech. The mind of the hearer is 
turned from the general thought and conducted by the 
Slide to the individual ideas which may enter into a sen- 
tence. 

The Slide also gives emphasis to the peculiar sentiment or 
feeling which calls it forth. In view of its effect, therefore, 
upon the accuracy and the emphasis of speech, the Slide may be 
regarded as the crowning power of expression. 

It is of constantly changing degree, according to the char- 
acter or intensity of sentiment. Its simplest form is the 
change of a single tone, and its n».ost intense, that of the 
octave or eight tones. 

Slides are divided into conversational and emphatic. 

The Conversational Slide is used in all the simplest forms 
of speech. The changes of upward and downward are naad© 
chiefly in reference to variety in the expression, one or the 
other prevailing according as the sentiment tends to the 
negative or positive form which will be shown to govern the 
Emphatic Slide. 

The Emphatic Slide is more significant, and the principles 
governing its use are more closely defined. With reference 
to the Emphatic Slide, all language may be divided into posi- 
tive and negative. 

Positive language comprises what is completed, definitely 
stated or enjoined ; and as that which is completed is k^ 
4<Hfw, positive langiaage Ukes the Bowawa?4 SMfs 



I'i2 fnkcnoAL m/xxmoK. 

Negative language comprises that which is subordinate 
incomplete and indefinite, and as that which ia unfinished is 
continued, or fteld up, negative language takes the Sustained 
Voic-€ or Rising Slide. 

NoTB. — While the aboTe la given at the most common governing principle oi 
the Slide, yet it ihould be obterved that the Slide is greatly subject to th« 
demands of variety and melody, and to the connections of the thought in which 
it is fouiid ; and is, therefore, less arbitrarily governed than the other modula- 
tions. 

The Wave or Circumflex is a Double Slide. Its simplest 
use is in reflective pathos and solemnity. It is prominent in 
wit and in language of double meaning, sarcasm, irony, 
insinuation, and in surprise and astonishment. 

The Rising Circumflex terminates on the upward slide. 
The Falling Circumflex terminates on the downward slide. 

The Circumflex is governed according to the general prin- 
eipla governing the Emphatic Slide. 



EXERCISES IN SLIDES. 



Th» following exercises, practiced in the order of the Dia- 
frame, and according to the directions, will lead the student 
quickly to a skilful management of the slides. 



XXEBCI3JB 1. 



J J / J 



/ 



u 



ExPLAifATOEY Note.— Practice the Conversational Slide 
upward on the long vowel sounds from the Medium Pitch. 
The degree of Slide is not arbitrary. Decide upon a degree 



EXPRESSION— EXAMPLES OF SLIDES., 

within the range of ordinary conversation, and give to dAclK 
sound the same Slide. 



EXIBCZSE 2. 

^ S V \, N 

ExPLANATOEY NoTE.—Practice the ConTcriAtionAl lKid« 
downward, as explained under Diagram 1. 

EXERCISE 8. 

Explanatory Note.— Alternate the Conv«riation*l Bllde 
upward and downward 



EXXBGIiE 4. 



< 



/I 4 4^ Xf M 



Explanatory Notk — Slide upward and downward from 
the extremes of the Pitch used in the Conversational SUd#. 



?EACTICAL BLOCUllON. 
EXEEdfiE 5. 




a € A^ 

Explanatory Note.— Practice the Emphatic SUde upward 
from. Medium to a degree of Pitch beyond that of ortlinary 
conversation. The degree is not arbitrary, but should be 
uniform through the five sounds. 

EXERCISE 6. 




a A A ^ M 

Explanatory Note. — Practice the Emphatic SUde dowr^ 
ward, according to directions for Diagram 5. 
EXERCISE 7. 




Explanatory Note. — Alternate ih<t Emphatic Slide upward 
e-nd downward. 



EXPilESSION-~EXAMPLES OF SLIDES. 



im 




Explanatory Note.— Slide upward and downward from 
the extremes of Pitch used in tlie Emphatic Slide. 

Suggestion to Teachers.— This Diagram, produced before the Class in ths 
order of Bteps here Indicated, with practice upon tho several steps, ■will give an 
interesting variety of exercise in Slide, with better results than the practice oi 
any other one exercise for the same length of time. 



EXAMPLES OF COmERSATIOHAL SLIDES. 



NoTK TO Tkacher OB SxuDEKT. — Practice abundantly in simple questions, 
and common-place conversational language. Observe the natural turning of the 
Toice upward and downward, and apply similar changes in such exercises as 
the following: 



1. My ancestors came from old Sparta, and settled among 
the vine-clad rocks and citron groves of Cyrasella. My 
early life ran quiet as the brooks by which I sported ; and 
when, at noon, I gathered the sheep beneath the shade, and 
played upon the shepherd's flute, there was a friend, the son 
of a neighoor, to join me in the pastime. We led our flocks 
to the same pasture and partook together our rustic meaL 

—E. Kellogg, 

2. Juliet. — 'Tis but thy name that is my enemy. 
What's in a name ? That which we call a rose^ 
By any other name would smell ^ sweet. 

— Shakspeare. 



186. PRAGTICAL ELOCUTION'. 

8. Art ia never art till it is more than art: the finit* 
exists only as to the body of the infinite. The man of 
genius must first know the infinite, unless he wishes to 
become, not a poet, but a maker of idols. — KingsUy. 

4. Touch. — How old are you, friend ? 
Will. — Five and twenty, sir. 
Touch. — A ripe age. Is thy name William ? 
TTiZZ.— William, sir. 

Touch. — A fair name. Wast born i' the forest here? 
Will. — Ay, sir, I thank God. 
Touch. — Thank God I a good answer. Art rich ? 
Will. — Faith, sir, so so. 

Tov^h. — So so is good, very good, — very excellent good : 
and yet it is not ; it is but so so. — Shakspeare. 

6. Once came to our fields a pair of birds that had never 
built a nest nor seen a winter. Oh, how beautiful was every- 
thing! The fields M'ere full of flowers, and the grass was 
growing tall, and the bees were humming everywhere. 
— Henry Ward Beecher. 

6. Mountains are, to the rest of the body of the earth, 
what violent muscular action is to the body of man. The 
muscles and tendons of its anatomy are, in the mountain, 
brought out with fierce and convulsive energy, full of 
expression, passion, and strength ; the plains and lower hills 
are the repose and the efibrtless motion of the frame, when 
its muscles lie dormant and CL-ncealed beneath the lines of 
its beauty, yet ruling those lines in their every undulation. 
This, then, is the first grand principle of the truth of the 
earth. The spirit of the hills is action ; that of the lowlands, 
repose ; and between these there is to be found every variety 
of motion and of rest; from the inactive plain, sleeping like 
the firmament, with cities for stars, to the fiery peaks, 
which, with heaving bosoms and exulting limbs, with the 
clouds drifting like hair from their bright foreheads, lift up , 
their Titan hands to heaven, eaying, "I live forever!" 

— EusJcin. 

7. 'Tli midnight's holy hour, — and iileooe now 
I» brooding like r. gentle spirit o'er 

The still and pulseless world. Hark ! on the winds 
The bell's deep tones are swelling — 'tis the knell 
Of the departed year. No luneral train 
'* swee^lm pa«+ * "'^^ on the stream and wood. 



SXnUE08IOK'--£XAMFL£I GW BUD9I. W 

With melancholy light, the moonbeams rest 
Like a pale, spotless shroud. — Geo. D. PrenMoe, 

8. Except the Lord build the house, they labor in vain 
that build it : except the Lord keep the city, the watchman 
waketh but in vain. It is vain for you to rise up early, to 
sit up late, to eat the bread of sorrow : for so he giveth his 
beloved sleep. — Bible. 

9. We had come to the middle of our sermon, when a, 
large fly, taking advantage of the open mouth of the speaker, 
darted into our throat. The crisis was upon us. Shall w« 
cough and eject this impertinent intruder, or let him lilently 
have his way? — Talmadge. 

iO. God forbid that we should outlive the love of our 
children. Rather let us die while their heart* are a part of 
our own, that our grave may be watered with their tean and 
our love linked with their hopes of heaven. 

11. Would you make men trustworthy ? Trust them. 
Would you make them true? Believe them. We win by 
tenderness, we conquer by forgiveness. — Rohertwn. 



EXAMPLES OF EMPHATIC SLIDE, 



1. To gild refined gold, to paint the lily, 
To throw a perfume on the violet, 

To smooth the ice, or add another hue 

Unto the rainbow, or with taper light, 

To seek the beauteous eye of heaven to gurniih, 

Is wasteful and ridiculous excess. — Shakiptar*. 

2. To them his heart, his love, his griefs were given, 
But all his serious thoughts had rest in heaven. 
As some tall cliff that lifts its awful form, 

Swells from the vale, and midv/ay leaves the storm ; 
Though round its breast the roHing clouds are spreftd, 
Eternal sunshine settles on its head. — GoldsTrUth. 

8. The war must go on ! We must fight it through ! 

4. Be * soldier ! B© a hero I Be a m*n ! 



188 PRACTICAL ELOCOTIOK. 

5. Can storied urn, or animated bust, 

Back to its mansion call the fleeting breath ? 
Can PIrmor's voice provoke the silent dust. 
Or Flattery soothe the dull, cold ear of death ? 

6. If ye are beasts, then stand here like fat oxen, waiting 
for the butcher's knife ! If ye are men, — follow me f Strike 
down yon guard, gain the mountain passes, and there do 
bloody work, as did your sires at old Thermopylae ! 

— E. KeUogg. 

7 When can their glory fade ? 

Oh, the wild charge they made ! 

All the world wondered. 
Honor the charge they made ! 
Honor the Lighb Brigade,— 
If obi e six hundred ! 

— T&nny$on. 

8. The charge is utterly, totally and meanly folse ? 

9. Though I speak with the tongues of men and of angels, 
and have nob charity, I am become as sounding brass, or a 
tinkling cymbal. And though I have the gift of projjhecy, 
and understand all mysteries, and all knowledge; and 
though I have all faith, so that I could remove mountains, 
and have not charity, I am nothing. And though I bestow 
all my goods to feed the poor, and though I give my body to 
be burned, and have not charity, it profiteth me nothing. 
Charity sufFereth long, and is kind ; charity envieth not; 
charity vaunteth not itself, is not puffed up, doth not behave 
itself unseemly, seeketh not her own, ia not easily provoked, 
thinketh no evil, rejoiceth not in iniquity, but rejoiceth in 
the truth ; beareth all things, believeth all things, hopeth all 
things. Cliarity never faileth : but whether there be prophe- 
cies, they shall fail; whether there be tongues, they shall 
cease ; whether there be knowledge, it shall vanish away. 
For we know in part, and we prophesy in^ part.^ But when 
Mijit which is perfect is come, then that which is in part shall 
be done away. When I was a child, I spalce as a child, I 
understood as a child, I thought as a. child ; but when 1 
became a man, I put away childish things. For now we sec; 
through a glass darkly, but then face to face : now I knovy- 
in part, but then shall I know even as also I am known. 



EXPlUiiSSION — EXAMPLES OF BLIDBa. 1S9 

And now abideth fiiith, hope, charity, — these three; but the 
greatest of these is charity. — Bible 



EXAMPLES IN WAVE OR C/RGUMFLEX. 



X, Oh, a wonderful stream is the river of Time, 

As it runs through the realm of tears, 
With a faultless rhythm and a musical rhyme, 
And a boundless sweep and a surge sublime, 
Ajs it blends with the ocean of years. 

—B. F. Taylor. 

2. It took Rome three hundred years to die; and our 
death, if we perish, will be as much more terrific as our in- 
telligence and free institutions have given to us more bone 
and sinew and vitality. May God hide me from the daj'- 
when the dying agonies of ray country shall begin ! thou 
"oeloved land, bound together by the ties of brotherhood, and 
common interest, and perils, live forever — one and undi- 
vided ! — Lyman Beecher. 

3. And this man 

Is now become a god ; and Oassius ia 

A wretched creature, and must bend his body, 

If Csesar carelessly but nod on him. 

He had a fever w^hen he was in Spain, 

And, when the fit was on him, I did mark 

How he did shake : 'tis true, this god did shake ; 

His coward lips did from their color fly ; 

And that same eye, whose bend doth awe the world. 

Did lose its lustre. — Shakspeare. 

4. Are fleets and armies necessary to a work of love and 
reconciliation ? Have we shown ourselves so unwilling to 
be reconciled, that force must b© called in to win back oui 
love? 

5. None dared withstand him to hig face, 
But one sly maiden spake aside ; 

*' The little witch is evil-eyed, 
Her mother only killed a cow, 
Or witched a churn, or dmry-p&n, 
But she, forsooth, must charm a man.*' 



UO nuoxicAL XLocuTioir. 

6. My feet are wearied and my hands are tirtd, 
My soul oppressed ; 
And with desire have I long desired 
E-est — only rest. 

7. Rich in a dozen paltry villages ! Strong in a hundred 
spearmen ! but only great in that strange spell a name i 

8. The earth is the Lord's and the fullness thereof; tho 
world, and they that dwell therein. 

9. I saw a man 

Deal Death unto his brother. Drop by drop 
The poison was distilled for cursed gold ; 
And in the wine cup's ruddy glow sat Death, 
Invisible to that poor trembling slave. 

— E. Evans Edwardt. 

10. O Rome ! Rome ! thou hast been a tender nurse to 
me. Ay ! thou hast given to that poor, gentle, timid shep- 
herd-lad, who never knew a harsher tone than a flute-note, 
muscles of iron and a heart of flint ; taught him to drive the 
sword throu::?h plaited mail and links of rugged brass, and 
warm it in the marrow of his foe : — to gaze into the glaring 
eye-balls of the fierce Numidian lion even as a boy upon a 
laughing-girl ! 

11. Alternate the Rising and Falling Circumflex in th« 
following : Did you iay no, or no ? I said no, not no. 



GESTURE. 



Gesfcare is posture or action, expressive of sentiment and 
emotion. While Speech is the verbal manifestation of thought 
and feeling. Gesture is the silent, but no less eloquent exposi- 
tor of the same workings of the soul. It supplements 
speech, and by its added grace, emphasis, and illustration, 
furnishes to the hearer a picture complete in all its parts. 

It is not the object to present here a series of rules upon 
which the student is expected to rely. True art never 
cables itself to mechanical forms — its inspiration and power 
emanate from the soul of the speaker. There are, however, 
certain natural laws which control all our actions, and upon 
these are based the Topics presented in the following outlin* : 



CtonT<g»tttlon»l , 


PosMm. i 


PawiTe. 

jLctiTe. 

[Head. 


J Lo«itIon. 

' Pv-rpost. \ Illustration. 
(. Emphasis. 


Or»t<Hri«al. 


Movemenis 
Body. 


Arm. ■ 


f Straight. 
Lines. A 

I Curved. 


Middle. 

Ascendio^. 

Dftsceudla^, 










8upi«e. 


WttatuiMtB* 






. JP%amm ^ mmd. < 


ProMu 






L«-w#r Umb*. 


V«rtloaL 


. 


raetaim^m 


ZSSi»H. < 


tTnlmpasslimei. 
Impassioned. 


I 





PBACTICili ELOCUTION. 

Gesture, with reference to sentiment, is divided into-« 

Conversational, 

Oratorical, 

Dramatic. 

Conversational Gestures are used in unemotional Ian- 
guage. 

The position should be erect, easy and natural ; the arm 
movements should usually centre at the elbow, and the 
expression of the countenance be open and cheerful. 

Oratorical Gestures delineate the earnest, the lofty, and 
the sublime. Hence, the position is not only erect, but active; 
the arm movements are mainly from the shoulder, and the 
expression of the face is confident and animated. 

Dramatic Gestures relate to the drama and to all d0«ply 
impassioned language. They are the exponent of the 
passions, and require great intensity of feeling in position, 
movement, and facial expression. 

NoTK — Any one of the divisions above named may be found closely combined 
▼ith either, or both of the others, as shown in the following examples: 

So through the night rode Paul Revere ! 

And so through the night went his cry of alarm 

To every Middlesex village and farm — 

A cry of defiance, and not of fear, 

A voice in the darkness, a knock at the door. 

And a word that shall echo forevermore ! 

— Longfellow, 

Then suddenly rang a sharp, low cry ! 

Bess sank on her knees, and v/ildly tossed 
Her withered arms in the summer sky — 

" O, Willie ! Willie ! my lad ! my lost I 
The Lord be praised ! after sixty years 

I see you again ! The tears you cost, 
0, Willie darlin', were bitter te.ars ! 

—Hamilton Aide, " Lost arid Found,^ 



positioh: 



By Position is meant the way in which a person stands in 
speaking, whether it be iu the parlor, the counting-room, the 
pulpit or at the bar. It is certain that curved spine, drooi^ed 
shoulders, protruded chin and bent knees are not only inele- 
gant, but they, to a gi-eat degree, indicate mental or physical 
weakness. 

A healthful and graceful carriage demands that the hend 
be kept easily erect, the shoulders thrown sufficiently back to 
give an open chest, and that the weight of the body rest upon 
the supporting limb, the knee of the same kept firm. Care 
should also be taken that the feet be properly placed. With- 
out minute description, let it be observed that one foot be 
placed in advance of the other, the heel of the advanced foot 
pointing to the hollow of the retired one, the dictance 
between them depending upon the size and build of the 
speaker. Greater freedom is thus given to the whole body 
mthout a loss of its equilibrium. 

Position may assume two forms — 

First, the Passive Position, in wliich there is absence of 
passion. This is the most common attitude of the speaker, 
and sustains to Gesture the same relation as Pure Quality 
of voice to Conversation. 

Second, the Active Position, which represents intensity of 
thought and feeling. The head is more firmly set. the chest 
more expanded, the lower limbs are more decided and the 
Advanced and Retired Postures strongly marked, often to 
such a degree that the unsupporting limb may b« thrown 
upon the toes. 

The Passive Position is in harmony with unemotional 
language whether it be ordinary conversation, didactic ex- 
pression, or plain argument 



PBACTICAL ELOCUTIOir. 

Examples for practice — 

1. It is better to inspire the heart with a noble sentiment 
than to teach the mind a truth of science. — Edward Brooks. 

2. The melancholy days are come, the saddest of tha 

year, 
Of wailing winds and naked woods and meadows brown 

and sere ; 
Heaped in the hollows of the grove, the autumn leaves 

he dead ; 
They rustle to the eddying gust and to the rabbit's 

tread ; 
The robin and the wren are flown, and from the shrubi 

the jay, 
A.nd from the wood-top calls the crow through all the 

gloomy day. — Bryant, " Death of the Flowers." 

The Active Position may represent earnest, enthusiastic 
bold or impassioned speech, in which case the weight of the 
body is thrown upon the advanced limb. It may represent 
that which is decided, determined, resistent or independent, 
in which case the weight of the body it thrown upon th« 
retired limb. 

Examples of Active — Advanced — 

1. Gray nose to gray nose, and each steady mustang, 
Stretched neck and stretched nerve till the arid earth 
rang. — Joaquin MiUen', "Kit Carson's Ride." 

% Not in vain the distance beacons. Forward, forwart' 
let us range I 
Let the great world spin forever down the ringing 

grooves of change ! 
Through the shadow of the globe we sweep into the 

younger day ; 
Belter fifty years of Europe than a cycle of Cathay. 
— Tennyson, '* Locksley HaU." 

8. "O comrades! warriors 1 ThraciansI if we must fight, 
let us fight for ourselves ; if we must slaughter, let us slaugh- 
iw our opprMBors ; if we must die, let us di« under th© op«:; 



GESTtTRE— MOYBMBNTS OF THE BODY. 14& 

sky, by the bright waters, in noble, hononiblf biittle."— iBjf'aA 
KeUogg. 

Examples of Active — Retired — 

1. Come with bayonets in your hands instaad of petitions 
— surround the "V^Tiite House with your lepon* — I am ready 
for you all ! — Charge Lippard, "Andrew Jackson." 

2. Talk not to me 

Of odds or match ! When Comyn died, 
Three daggers clashed within his side ! 
Talk not to me of sheltering hall ! 
The Church of God saw Comyn fall ! 
On God's own altar streamed his blood ; 
While o'er my prostrate kinsman stood 
The ruthless murderer, even as now, — 
With armed hand and scornful brow. 

—Sir Walter ScoU, " Lord oj the, Isles:* 

3. " What ! to attribute the sacred sanctions of God and 
Nature, to the massacres of the Indian scalping-knife ! to th% 
cannibal savage, torturing, murdering, devouring, drinking 
the blood of his mangled victims ! Such notions shock every 
precept of morality, every feeling of humanity, every senti- 
ment of honor. These abominable principles, and this mor« 
abominable avowal of them, demand the most decisive in- 
dignation." — From, Chatham's Rebuke of Lord Suffolk. 

Note. — The principles abore presented are not designed to cover th« entire 
ground of Position. Enough has been stated to give a general id*a of the rab- 
ject; other attitudes, largely under characterisatioa, most 1m left to the 
twt« and judfrnent of the speaker. 



MOVEMENTS OF THE BODY. 

Movements of the Body are those of th* Head, the Arm, 

and the Lower Limbs. Thest mov«m«ntt should b« fret, 
natural and significant. 

HXAJ). 

Th« head movements should not only b« rarlgd in harmony 



I^RACTICAL ELOCUTIOJJ. 

with the sentiment, but they should also be directed to the 
individual hearers throughout the audience. This will show 
that the words are not meant for the separate few, but are 
designed for every one in the assemblage. 

On the other hand, the speaker should carefully guard 
against too frequent change of this important member. 
Nothing is more unpleasant than a constant or habitual 
movement of the head . 

ASM. 

Purpose. — The movements of the arm are for the purpose 

of giving clearer meaning or greater stress to a word or an 
expression than can be given by voice only. This purpose 
may be shown in three ways : 

First. In the location of an object, thus bringing it more 
vividly before the mind of the auditor — hence Gesture! of 
Location. 

Second. To describe or show how or in what way iome- 
thing appeared or was affected or imitated — Whence Gesturet 
of Illustration. 

Third. To give greater intensity to words by the degree 
of force culminating the movement — Whence Gesture* of 
Mm^haais. 



IfToTB 1.— Gestures of Location and Illustration present themselves readily in 
all kinds of language — the student must, however, guard against making more 
than are either necessary or true. 

NoTB 2. — Emphatic Gestures are less readily discovered, and are for fhls 
reason less liable to extremes in manner. The best means of ascertaining the 
place of the Emphatic Gesture is to thoroughly comprehend the meaning of 
the passage to be rendered, giving to the most vital part of it the needed gesture. 

NoTB 3.— By the classification just made it must not be understood that fha 
tnree forms ot Gresture always exist separately ; they are sometimes combined— 
this ia especially true of the Emphatic Gesture, which frequently blends witii 
9ae of the others. 



Location- 



SESfURE—MOVEMENTS OF THE BOD'T. 1^ 

EXAMPLES FOR PRACTICE. 



Far aloft in that high steeple 
Sat the bell-man, old and gray. 

— Independenee BeU, 



There the troop of Minon wheels, 

TTiere the Northern horses thunder with the cannon at 
their heels. — Whittier: *^ Angels of Buena Vista" 

Illustration- 
Straight the ancient Arrow-maker 
Looked up gravely from his labor, 
Laid aside the unfinished arrow. 
Bade him enter at the doorway; 
Saying, as he rose to meet him, 
You are welcome, Hiawatha. 

— Longfellow : " Song of HiawathaJ' 

She leans upon his neck 
To watch the flowing darkneai ; 
The bank is high and steep ; 
One pause — he staggers forwai'd, 
And plunges in the deep. 

— Adelaide Proctor: ** Legend of Bre^tmutr 

Emphasis — • 

The war is inevitable ! 

I tell you, though you, though all the worid^ though an 
angel from Heaven should declare the truth of it, I would not 

believe it. 

Lines. — Movements of the Arm must be made in certain 
lines. According to natural laws these Hnea are either 
straight or curved — whether the assertion be conversational, 
oratorical or dramatic 

Guiding Principles: Forcible, determined, abrupt and 
bold expressions re<juire straight lim^i such as are beautiful 



%l^ PRACTICAL ELOCUTION. 

graceful, genial^ giave, grand and ezultaut r«quir« th« 
cwrves. 

EXAMPLES. 

Straight — 

Down, aoothleM insulter I I trust not the tale. 

— CampbeU: " Lochiel's Waminff." 

A He which is all a lie, may be met and fought with outright t 
But a lie which is part a truth is a harder matter to fight. 
— Tennyson: " The Qrandrnioth^r." 

Curved — 

The Niohe of nations ! there she stands, 
Childless and crovmless in her voiceless woe ! 

—Byron: '' Childe HaroW 

One touch to her hand and one word in her ear, 
When they reached the hall door where the charger Btood 
near. — Scott: '^ Lochinvar." 



It is further demonstrable by the sam« laws that these 
lines must take a Middle, an Ascending, or a Pescending 
direction. 

Such ideas as indicate ordinary events, plain statement 
and description, emotional address or reference to substance, 
real or imagined, surrounding, require a middle direction. 

Keference to substance, real or imagined, located above; 
pure, noble, lofty and exultant emotions, and all ideas 
prompted by an approving conscience naturally require an 
ascending direction. 

Reference to substance, real or imagined, located beiow; 
base, abject, grovelling emotions; frequently strong em- 
phatic assertions, and all ideas prompted by a disapproving 
conscience, naturally take a descending direction. 

These general directions may carry the hand to the fronts 



3ESTUEE— MOVEMENTS OF THE BODY. 

the skTe, rhe back or points between, as ina>y be shown by 
the character of the assertion. Thus it will be seen that by 
Hne and direction, the movements of the arm may be varied, 
for the purpose of adding strength to uttered thought. 

TVIiile a speaker is allowed the largest liberty in manner, so 
long as he keeps within the limit of good taste, yet he who is 
most natural, most artistic andmost impressive, is the one who 
evinces the clearest conception of what he wishes to convey; 
and this must necessarily call out variety of motion. Gesture, 
like speech, has in a sense, its modulations, and he who 
conceives correctly will never be monotonous. 

Position of Hand. — Excepting the face, the hand con- 
stitutes the strongest silent medium of communication, 
and its interpretation almost exclusively depends upon the 
position it assumes under different phases of expression. 
Sheridan says : " Every one knows that with the hands we 
can demand or promise, call, dismiss, threaten, supplicate, 
ask, deny, show joy, sorrow, detestation, fear, confession, 
penitence, admonition, respect, and many other things now 
in common use." Tlie positions of the hand are defined 
by the common terms of Supine, Prone, and Vertical. 

The SupiTie Position is extremely broad in its application. 
It may be used in ordinary, beautiful and sublime descrip- 
tion; in address to objects animate and inanimate; in com- 
manding, entreating, welcoming, commending and kindred 
ideas, and in elucidating or intensifying a statement or 
argument. 

The Hand Prone usually shows superposition or the resting 
of one object, fact or principle upon another. It may also 
denote destruction to life, morally or physically, and in a 
certain sense, shows treachery or concealment. 

The Hand Vertical indicates aversion or abhorrence of aa 
object which is distasteful, disgusting, or terrible; it is also 
used in surprise, and to deprecate or deplore an unavoidable 
circumstance or calamity. 



PEACTICAL ELOCUTIOia:. 



DOUBLE GESTURES. 



Double gestures have the same general meaning as th» 
single ones. Their specific use is to show broader expanse of 
objects, greater breadth of thought, and more intensity of 
emotion than can be given by one hand only. 

In the preceding classification, with reference to the diflferent positions of the 
hand, only leading terms are noted, in the belief that the student will b« mhU 
&om these to draw correct conclusions with reference to othexa. 



EXAMPLES FOR PRACTICE. 

MIDDLE LINES — ONE HAND SUPINE. 

1. " No pleasure is comparable to the standing on th« 
vantage-ground of truth." 

2. " Be/ore him lay the unexplored future." 

3. " I give thee in thy teeth the lie 1 " 

4. " Wisdom is better than riches." 

5. " What is man that Thou art mindful of him?" 

6. " I freely grant all that you demand." 

7. " Whatever impedes his progress shall be removed." 

8. "The breeze died away as the sun sank behind the 
fv^estern hills." 

9. "A distant sail appeared on the verge of the horizon." 

10. " I see the silent Ocean of the Past, & wa«te of water* 
»\r©ltering over graves." 

BOTH HANDS SUPINE, 

1. " His talents he deposited on the altar of his country." 

2. " Forward ! Forward, let us range ! " 

3. " To freedom sh© leaped through drowning and deatk,** 



QESTURB— MOTEMENTS OP THE BODY. l5t 

4. "Our deeds determine us as much as we determine our 
deeds." 

5. " delightful legacy of a spotless reputation" 

6. "Tliey tell us to be moderate, but they — they are to 
revel in profusion." 

7. " One vast realm of wonder spreads around," 

8. " Proclaim the tidings to aU people." 

9. " May my country exist to the latest day in the pUni' 
tvde of liberty and happiness." 



ASCENDING LINES — ONE HAND SUPINE. 

1. " Eternal King ! Author of all being." 

2. " Hope is above us beckoning us onward." 
8. '' Flag of the free heart's hope and home ! " 

4. "High in the political horizon stands the name •! 

Washington." 

5. " Fix your eye upon excellence,''^ 

6. "A new immortal wakes — wakes with his God ! " 

7. " Higher yet, rose the majestic anthem without pause.** 

8. " Columbia, Columbia, to glory arise." 

9. "Away — Oh ! away — soars the fearless and free." 

BOTH HANDS SUPINE. 

1. " Mighty one— all hail ! " 

2. " Give your children food, Father ! ** 

3. " Take my spirit, All-Omnipotent to The©.** 

4. ** Ye crags and peaks, I'm with you once again.** 

5. " Ye golden lamps of heaven, fsiTQwelV 

6. "Spirits of freedom, awak^ all! " 



PRACTICAL EIAXJUTIOK. 

7 "Joy,joyforefver! my task is done I" 

8. " Rejoice ! the land is free ! " 

9. "Shoid, Earth and Heaven, the sum of good to man." 

DESCENDING LINES — ONE HAND SUPINE. 

1. " The truth of his whole statement I do most peremp- 
torily deny.'^ 

2. " Dmvn, down forty fathoms beneath the blue wave." 

3. *' I will protest against such a measure." 

4. "Prejudice is often /aia?." 

5. " Full many a gem of purest ray serene, 
The dark unfcUhomed caves of ocean bear." 

6. " The first teat of a truly great man is his JmmilUy." 

7. " He has become too vile for association." 

8. "Thou shalt lie down with patriarcJis of the infamt 
world." 

9. " Poison and plague and yelling rage have fUd." 

BOTH HANDS SUPINE. 

1. "All my fortunes at iYij feet I'll lay ! " 

2. " O mighty Ccesar ! Dost thou lie so low ? " 

3. " Thus I devote thee to the infernal gods ! " 

4. " By the rivers of Babylon there we sat down ; yea we 
wept, when we remembered Zion." 

5. " We consign their ashes to the cold, dark tomb." 

6. " We have no concessions to make, my lord." 

7. " Nature hear* the ihock and hurU her fabric to the 
duft." 

8. " I utterly renounce the project ! " 

9. " Of all earth's grovelling csrew the most cuiowrted I ** 



QBITURE— MOVEMENTS OF THE BODY. IM 

MIDDLE LINES — ONE HAND PHONE, 

1. " Peace be unto thee." 

2. "I pi'ohibit the signing of such a paper." 

S. "On stream and wood the moonbeams rest, like 8» p^l-e 
■potless shroud." 

4. " X charge you all, restrain such propensities." 

5. ''A profound aiue crept over the multitude." 

6. " Now oW the one-h-alf world Nature seems dead." 

BOTH HA2SDS PBONE, 

1. " May the blessings of Heaven rest upon thee." 

2. "With our hands upon the altar , we swear eteroal 
fealty." 

3. " The Angel of Death spread his wings on the blast." 

4. " One dead silence reigned over the spot." 

5. " Deep stillness feU on all around." 

6. " Spread the glad tidings from shore to shore.*' 

ASCENDING LINES — ONE HAND PRONE. 

1. " We Gi'ovm her the land of a hundred years !" 

2. " Justice cries : Forbear ! " 

3. " High o'er us soared Great Lookout." 

4. •* They little knew the danger invpending o'er their city," 

5. " Like a glory the broad sun 

Hangs over sainted Lebanon." 

^ ** A midnight gloom reigned over the farthest height" 

BOTH HANDS PRONE. 

1, ** Bless the Lord, O my soul !" 



1»RACTICAL ELOCUTIOlf, 

2. " Sink, O Night, among the mountain*.* 

S. " Wings *hove life to soar, 

And beyond death forevermore." 

4* " Hung be the heavens with black." 

5. " It shall open tuide its portals, 

The city of the free." 

6. " He saw above a ruined world the Bow of Promise riie.' 

DESCENDING LINES — ONE HAND PRONE. 

1. " Pray you, tread softly." 

2. " I cannot repress my indignation." 

3. " Her keel hath struck on a hidden rock.** 

4. " Blighted are all his prospects.'' 

5. " Thou art too base for man to tread upon." 

6. "Angel, roll the rock away." 

7. " Fear shrinks trembling into the deepest ehadowi." 

BOTH HANDS PRONE. 

1. "Lie %^% on him earth." 

2. " Sons of dust, in reverence how," 

3. " The idols are broke in the temple of Baal." 

4. " "We are in Thy sight, worms of the dust." 

5. " Ignorance dissolves before the light of knowledge." 

6. " Open fly the infernal gates !" 

MIDDLE LINES— HAND VERTICAL. 

1. " Back to thy punishment, false fugitiv©.** 

2, " The thought is truly repicgnant" 
S. " Hi« arm warded off the blow.** 



GESTUEE— MOVEMENTS OF THE BODY, l-JO' 

4. " He evaded all questions." 

5. " Go, get thee from me, Cromwell V* 

6. " False wizard, avaunt /" 

7. " Get thee hack, Sorrow, get thee back.* 

BOTH HANDS VERTICAL. 

1. " Advanced in view they stand, a horrid frorUJ* 

2. " With united hearts let us drive hack the invadenu*" 

8. "Their separation was final.'* 

4. " Let them remain, disunited forever.*' 

5. " Avaunt, and quit my sight !** 

6. " The land was o-ent with civil strife." 

ASCENDING LINES — ONE HAND VERTICAL^ 

1. " While we bow before thee, turn away thine •«iger,*^ 

2. " Oh, forbid it, Heaven !" 

8-. " May the impending ruin be averted !'* 

4. " Cossack and Russian, 

Reeled from the sabre-stroke. 
Shattered and sundered." 

5. " Away, delusive phantom !" 

6. " Unreal mockery, hence !" 

BOTH HANDS VERTICAIi. 

1. " Avert, O God, the terrible calamity.** 

2. " Hide your faces, holy angels !" 

3. " O horror ! horror ! horror I" 

4. " Angels aud Ministers of Grace, defend uau" 

5. " Bwst are the prison bare." 



156 PRACTICAL ELOCUTION. 

6. "Celostial light 

Dispels the gloomy shades of night." 



NoTK.— While the hand through the motions of the arm, reaches eertatn 
points, and assumes certain positions, 8uch as have been named and exompU- 
fied, the student mast not conclude that these comprise all the positions and 
movements of the hand. While those classed are most frequently used, there 
are many others which as justly belong to the speaker's range of expression. 
▲ ftw of the more prominent of these are presented in the following 



EXAIifPLES FOR PRACTICE. 

HAND RAISED TO CALL ATTENTION. 

" Hush I Hush ! Thou vain dreamer, this hour is her last.* 

«AND WAVED OR FLOURISHED — TRIUMPH, JOY, OR EXULTATION. 

" Flag of Freedom and Union wave." 
**Zo/ They come, they come 1 " 

HAND ON HEAD— INTENSE THOUGHT OR MENTAL SUTFEEIN*. 

" Blessed mother, save my brain.** 

HAND ON CHEST — HOPE OR APPEAL TO CONSdENCB. 

"Right? Who says right?" 

"My conscienoe aa,ys right, and that is enough." 

HAND ON HEABT. 

" B«5 still, sad heart ! and cease repining.*' 
"- Let my heart he stills, moment and this mystery explar«»-** 

HANDS CLASPED— PRAYER OR PETITIOir. 



Oh, for }iem}en*s sake, spare me I 
"O Thow Christ oi God forgive V' 



Q28TUBE— MOTEMENTS OP THE BODY. 167 

HANDS WRUNG— AFFLICTHON, 

'^O pardon me, thou piece of bleeding earth." 

HANDS CLINCHED — ^ANGEE, DEFIANCE, 
ONE HAND. 

•• I defy him J let him come I " 

BOTH HANDS. 

* Vlljlgltt till from my bones my flesh be hacked! ** 

HAND KAISED. 

" She prayed, her withered hand uprearing, 
God, who art never out of hearing, 
O, may he never more be warm." 

HIBDS RAISED— PATiMS NEARLY FACINCV— ADORATION, WONDER, &<5, 

" Still the infinite heaveris raag with the Holy, Holy ere»v 
moref 

HAND- DROPPED. 

•^Th^t hai>d was cold, a frozen thing, 
It dropped from his like lead." 

DRAWING SWORD. 

** By torch and trumpet fast arrayed 

Each warrior drew his battle blade." 

WRAPPING DRAPERY. 

•* He in his robe of virtue w^raps himself 
Andgmiiei at Fate's caprice." 



In addition to th© general use of the lower limbs, as ex- 
plained under Position, strongly dramatic passages call foi 



166 FRACnCAL ELOCCnOF. 

corresponding movements. These are suggested by the fol-« 
lowing Guiding Principles. The lower limbs bend in timid* 
ity, advance in courage or progression, retire in fear or oau> 
tion, stamp in rage, and start in terror, 

INDEX FINGER. 

A proper use of the index finger not only gives variety to 
gesture, but it enforces an assertion most effectively, espe- 
cially when used to distinguish one from a collection, a part 
from the whole, or to threaten, warn, or deride. 

EXAMPLES. 

1. " Yonder stands the cottage in which I wag bom." 

2. " You shall die, base dog, and that before yon cloud hM 
passed over the sun." 

8. "Look to your hearths my lords." 

4. Nathan said unto David, " Thou art the «»-•• * 

5. " Lay not your hand upon my boy,** 



FAOIAL EKPRESSION. 



The face is the mirror of the emotions ; hence it should be 
taught to reflect promptly all changes of sentiment and feel- 
ing. A voice may be perfect in its modulations ; it may set 
itself most harmoniously to all forms of uttered language, 
yet if the soul of the speaker does not bear record, by index- 
ing itself upon the countenance, the aim attempted is, to » 



QESTURE— FACIAL EiFlUlftllCar. 

Very great degree, marred. Quintilian says, " The face is the 
dominant power of expression. With this we supplicate ; 
with this we threaten ; with this we soothe ; with this we 
mourn ; with this we rejoice ; with this we triumph ; with 
this we make our submissions ; upon this the audience hang ; 
upon this they keep their eyes fixed ; this they examine and 
itudy even before a word is spoken." 

Facial expression may be divided into Unimpaasioned and 
Impassioned. The former belongs to that which is reposeful 
or tranquil, to ordinary conversation, plain narration and 
description, and unimpassioned argument. The latter is 
used in all kinds of emotional language. It is not the 
design in this limited treatment to present the countenance 
under all the varieties of thought and feeling. Some guid- 
ing principles are offered, together with examples for prac- 
tice. 

GUIDING PRINCIPLES. 

1. A smiling countenance indicates courtesy, joy, good 
humor and happiness. 

2. The brows contract, the eye« burn, and the lips com- 
press in anger and defiance. 

8. The nose and upper lip are elevated in scom ; and the 
brows are raised, the eyes opened, and the lips parted in 
secresy, surprise and fear. 

4. The face is dejected and softened in sorrow, averted in 
ahame, and raised in supphcation. 



EXAMPLES FOR PRACTICE. 

UNIMPASSIONED. 

- 1. Every evil that we conquer is a benefit to our souk. 
The Sandwich Islander believes that the strength and valor 
of the enemy he kills, passes into himself. Spi/nktaMy, it iii so 



PEA«TICAL ELOCUTION. 

with UB, for we gain strength from every temptation, we 
rcBist. It is absurd to think of becoming good in any- 
Uiing without understanding and practicing what we learn. 

2. There is no crown in the world 
So good as patience ; neither is any peace 
That God puts in our lips to drink as wine, 
More honey-pure, more worthy love's own praise, 
Than that sweet-souled endurance which makes clean 
The iron hands of anger. 

— Sfwinhume : " The Queen MotJier.''* 

3. Whv'' weep ye, then, for him who, having won 

The bound of man's appointed years at last, 
Life's blessings all enjoyed, life's labors done, 

Serenely to his final rest has passed. 
While the soft memory of his virtues yet 
Lingers like twilight hues, when the bright sun is 8e( 
— Bryant : from " Death of the Good Man," 



IMPASSIONED. 
EEVERENCE. 

" Father, Thy hand 
Hath rear'd these venerable columns ; Thou 
Dids't weave this verdant roof. Thou dids't look down 
D'pon the naked earth, and forthwith rose 
AIi these fair ranks of trees." 

— Bryant : from " Forest HyrtmJ* 

PATHOS. 

" Ah, lady, now I know fiill well 
What 'tis to b© an orphan boy." — iff*. Op<#. 

JOYOUSNESi. 

** Eing out the old, ring in the new, 
King, happy bells, across the snow : 
The year is going, let him go ; 
Ring out the false, ring in the true." 

— Tennyson: " In M&nonamK*' 



GESTUBE— FACIAL EXPRBSSION* W» 

SECEESY. 

" Husli ! Hark ! Did stealing steps go by. 
Came not faint whispers near ?" 

INDIGNAJ^ COMMAND. 

"Get thee back into the tempest, 
And the night's Plutonian shore I" 

ANGER. 

** And dar'st thou, then, go beard the lion in his den, 
The Douglass in his hall ? 
And hop'st thou hence unscathed to go ? 
Ko I by Saint Bride of Bothwell, no V'—SooU: "Marmwn:* 

DEFIANCE. 

" Thy threats, thy mercies I defy. 
And give thee in the teeth the lie." 

RESIGNATION. 

** Forever and forever, all in a blessed home, 
And there to wait a little while, till you and Effie com©, 
To lie within the light of God, as I lie upon your breast ; 
And the wicked cease from troubling, and the weary are at 

rest." — Termyson: "May Queen" 

SADNESS. 

" Backward, roll backward, O time in your flight, 
Make me a child again, just for to-night." 

GRIEE. 

"01 have lost you all, 
Parents and home and friend*." 

EXTREME SURPRISE. 

^ Gone to be married ! Gone to swear a peace f 
False blood to false blood Joined ! Gone to be friends I 
Shall Lewis have Blanche,' and Blanche these provinces ?" 



Idi nuCTicAi. ELocunoir. 



HATRED. 



*'Stay there, or I'll proclaim you to the house and the whole 
street I If you try to evade me, I'll stop vou, if it's by the 
hair, and raise the very stones against you. — Dickens. 

EXTREME FEAR. 

•' To bed, to bed ! There's knocking at the gate I" 

JEALOUSY. 

" But one sly maiden spake aside— 
The little witch is evil eyed : 
Her mother only killed a cow, 
Or witched a churn or dairy pan : 
But she, forsooth, must charm a man !" 

— WhiUier: '' Mabel Martin,*' 

TRTOMPH. 

" Mark ye the flashing oars, 
And the spears that light the deep ? 
How the festal sunshine pours 
Where the lords of battle sweep I 
Each hath brought back his shield : 
Maid, greet thy lover home I 
Mother, from that proud field, 
lol thy son is come." 

AFFECTATION. 

" Ha ! ha ! ha ! Well, I believe I do bear my part with 

5. tolerable grace." 

HUNGER AND SADNESS. 

** Give me three grains of com, mother. 
Only three grains of com ; 
*Twill keep the little life I have^ 
Till the coming of the mom.* 

«CORN. 

''She iovo! That carrioa ! And he eve? cared for her, nWd 



OESTtJRE — MISCELLANEOUS EXEECISEg. 28i j 

'i 

tell me I Hal ha! The liars that these traders are."-^ \ 

JHckenu. \ 

TERROR. \ 

*' Alack ! I am afraid they have awaked, \ 

And 'tis not done : the attempt, and not the deed, \ 

Confounds us ! Hark ! I laid their daggers ready ; i 

He could not miss them/' — Shakspeare : " Macbeth.'* \ 

REVENGE. 1 

^ And Caesar's spirit, ranging for revenge, 

With At6 by his side, come hot from hell, ^ 
Shall in these confines with a monarch's voice, 
Cry jSawc, and let slip the dogs of war !" 

— Shakspeare: "Julius Cssicur.* ] 

j 

EXiriTATION. i 

" Go ring the bells and fire the guni, j 

And fling the starry banners out ; I 

Shout * Freedom !' till your lisping one* \ 

Give back their cradle-shout." ^ 

-^WhitHer* i 



MISCELLANEOUS EXERCISES IN GESTURE. 



Oh, the gorgeous city, J 

Shining far away I 1 

Neither misery nor crime, \ 

Nor the wrongs of ancient time, \ 

Nor the kingly lust of sway i 

Ever come within its wall \ 

To degrade — or to enthrall — ' ; 

Oh, the glorious city, so beautiful to i«e,— • \ 

But peace and love and knowledge \ 

The civilizing three, ! 

Still prove by good that has been ] 

The better that may be. ■ 

^-Mackay: " The Qoldm CUy^" \ 



164 1>RACT1CAL ELOCUTlOir, 

2. No fearing, no doubting thy soldier shall know, 
When here stands his country, and yonder his foe ; 
One look on the bright sun, one prayer to sky, 
One glance where our banner waves glorious on high; 
Then on, as the young lion bounds to his prey ; 
Let the sword flash on high, fling the scabbard away ; 
Roll on, like the thunderbolt over the plain ; 
We come back in glory or we come not again I 



3. For all the kindreds and tribes and tongues of men,— • 
each upon their own meridian, — from the Arctic pole to the 
equator, from the equator to the Antarctic pole, the eternal 
sun strikes twelve at noon, and the glorious constellations, far 
up in the everlasting belfries of the skies, chime twelve at 
midnight — twelve for the pale student over his flickering 
lamp — twelve amid the flaming wonders of Orion's belt, if he 
crosses the meridian at that fated hour — twelve by the weary 
couch of languishing humanity, twelve in the star paved 
courts of the Empyrean — twelve for the heaving tides of the 
ocean ; twelve for the weary arm of labor, twelve for the 
toiling brain, twelve for the watching, waking, broken heart; 
twelve for the meteor which blazes for a moment and 
expires ; twelve for the comet whose period is measured by 
centuries : twelve for every substantial, for every imaginary 
thing, which exists in the sense the intellect, or the fancy, 
and which the speech or thought of man, at the given meri- 
dian, refers to the lapse of time. 

— Everett ;" Eternal Clockwork of the Skieg." 



Oh, with what pride I used 

To walk these hills, and look up to my God, 

And bless him that the land was free ! 'T was free-* 

From end to end, from clifl'to lake, 'twas free I 

Free as our torrents are that leap our rocks, 

And plow our valleys, without asking leave * 

Or as our peaks, that wear their caps of snow 

In very presence of the regal sun ! 

How happy was it then ? I loved 

Its very storms. Yes, I have sat 

In my boat at night, when, midway o'er the lake. 

The stars went out. and down the mountain gorge 

The wind came roarmg. I have sat and eyed 

The thunder breaking from his cloud, and smiled 



GESTURE—MISCELLANEOUS EXERCISES. 1 

To see him shake his hghtnings o'er my head, 
And think I had no master save his own ! 

On yonder jutting cliff, o'ertaken there 

By the mountain blast, I 've laid me flat along, 

And while gust follov/ed gust more furiously, 

As if to sweep me o'er the horrid brink, 

And I have thought of other lands, whose storms 

Are summer-flaws to those of mine, and just 

Have wished me there — the thought that mine was fre*^ 

Has checked that vvdsh, and I have raised my head 

And cried in thraldom to that furious wind, 

Blow on ! — this is the land of liberty ! — Knoivlea. 

' 5. Oh ! listen, man ! 

A voice within us speaks that startling word, 

" Man, thou shalt never die ! " celestial voices 

Hymn it unto our souls : according harps 

By angel fingers touched, when the mild stars 

Of morning sang together, sound forth still 

The song of our great immortality ; 

Thick clustering orbs, and this our fair domain. 

The tall, dark mountains, and the deep-toned seas, 

Join in the solemn, universal song. 

Oh ! listen ye, our spirits : drink it in 

From all the air. Tis in the gentle m.oonlight; 

'Tis floating midst Day's setting glories ! Night, 

Wrapped in her sable robe, with silent step 

Comes to our bed, and breathes it in our ears : 

Night, and the dawn, bright day, and thoughtful eve 

All time, all bounds, the limitless expanse, 

As one vast mystic instrument, are touched 

By an unseen, living Hand : and conscious chords 

Quiver with joy in this great jubilee. 

Dana: Immortality. 

6. While the union lasts we have high, exciting, gratifying 
prospects spread out before us, for us and our children. 
Beyond that I seek not to penetrate the veil. God grant 
that in m.y da}'-, at least, that curtain may not rise. God 
grant that on my vision never may be opened what lies be^ 
hind. When my eyes shall be turned to behold, for the lasl 
time, the sun in heaven, may I not see him shining on thu; 
broken and dishonored fragments of a once glorious union ; 
on states dissevered, discordant, belligerent ; on a land rent 



Id6 PRACTICAL ELoajnoiff. 

with civil feuds, or drenched, it may be, in fraternal blood t 
Let their last feeble and lingering glance, rather, behold the 
gorgeous ensign of the republic, now known and honored 
throughout the earth, still full high advanced, its arms and 
trophies streaming in their original luster, not a stripe erased 
or polluted, nor a single star obscured, bearing for its motto 
no such miserable interrogatory as— What is all this worth? 
Nor those other words of delusion and folly — Liberty first 
and union afterward ; but everywhere spread all over in 
characters of living light, blazing on all its ample folds, as they 
float over the sea and over the land, in every wind under the 
whole heavens, that other sentiment, dear to every true 
American heart— Liberty and union, now and forever, ont 
and inseparable !— Webster : Liberty and Union. 

7. CHAR^iE OF THE LIGHT BRIGADE. 

JTalf a league, half a league, 

Half a league onward, 
All in the valley of death 

Rode the six hundred. 
" "Forward, the Light Brigade I 
Charge for the guns ! " he said i 
Into the valley of Death 

Rode the six hundred. 

•* Forward, the Light Brigade I" 
Was there a man dismayed ? 
Not though the soldiers knew 

Some one had blundered I 
Tlieirs not to make reply ; 
Theirs not to reason why; 
Theirs but to do and die : 
Into the valley of Death 

Rode the six hundred. 

Cannon to right of them. 
Cannon to left of them, 
Cannon in front of thera 

Volleyed and thundered : 
Stormed at with shot and sh^i/* . 
Boldly they rode and well; 
Into the jaws of Death, 
Into the mouth of Hell, 

Rode the six hundred. 



aESTURE— MISCELLANEOUS EXERCISES. 1^ 

Flashed all their sabers bare, 
Flashed as they turned in air, 
Sab'ring the gunners there, 
Charging an army, while 

All the world wondered ! 
Plunged in the battery smoke, 
Eight through the line they broke : 
Cossack and Russian 
Reeled from the saber-stroke, 

Shattered and sundered. 
Then they rode back ; but not — 

Not the six hundred. 

Cannon to right of them. 
Cannon to left of them. 
Cannon behind them 

Volleyed and thundered : 
Stormed at with shot and shell, 
While horse and hero fell, 
They that had fought so well 
Came through the jaws of Deatk, 
Back from the mouth of Hell, 
All that was left of them — 

Left of six hundred. 

When can their glory fade ? 
O the wild charge they made I 

All the world wondered. 
Honor the charge they made I 
Honor the Light Brigade, — 

Noble six hundred ! — Tennyson, 

S. 

' O, where is the knight or the squire so bold 
As to dive to the howling charybdis below ? — 
I cast in the whirlpool a goblet of gold, 
And o'er it already the dark waters flow ; 
Whoever to me may the goblet bring 
Shall have for his guerdon that gift of his king/' 

He spake, and the cup from the terrible steep 
That, rugged and hoarj^, hung over the verge 
Of the endless and measureless world of the deep, 
Swirled into the maeJstroin that maddened the iurge 
And where is the diver so stout to go — 
I ask ye again — to the deep below ?" 



i^ PRACTICAL ELCX3UTIOX. 

And the knights and the squires that gathered around, 
Stood silent, and fixed on the ocean their eyes ; 
They looked on the dismal and savage profound, 
And the peril chilled back every thought of the prize. 
And thrice spake the monarch, — ''The cup to win, 
Is there never a wight who will venture in ?" 

And all ns before heard in silence the king, 
Till a youth with an aspect unfearing, but gentle, 
'Mid the tremulous squires, stepped out from the ring. 
Unbuckling his girdle, and doffing his mantle; 
And the murmuring crowd a« they parted asunder, 
On the stately boy cast their looks of wonder. 

As he strode to the marge of the summit, and gave 
One glance on the gulf of that merciless main. 

The youth gave his trust to his Maker ! Before 

T'hat path through the riven abyss closed again — 

Hark ! a shriek from the crowd rang aloft from the shore. 

And, behold ! he is whirled in the grasp of the main ! 

And o'er him the breakers mysteriously rolled, 

And the giant mouth closed o'er the swimmer bold. 

—Schiller : " The ZHver." 



GENERAL SUGGESTIONS. 

In Transition, or in passing from one gesture to another, 
the hand should not be dropped at the side, but allowed to 
pass by gracefal movement from one point to the other. 

When Climax is required, strengthen each word, phrase, or 
assertion, over the preceding one, by a stronger gesture, and 
in a manner and direction as may be indicated by the 
character of the discourse. 

Study nature for attitude and action as well as for speech. 
The most noted readers and speakers often furnish worthy 
examples. Benefit in this regard may also be derived from 
observation of characters in sculpture and painting. 



GESTURE— MISCELLANEOUS EXEECISES. 16i^ 

Study Repose of maiiBer : there is repose of action as well 
as of inaction ; it is the sign of mastery. It is the most 
unfailing test of beauty whether of matter or of motion. 



CAUTIONS TO BE OBSERVED. 

1. Avoid false gestures. 

2. Avoid crude and ungraceful gestures, except in the oc- 
casional sentiment which may require it. 

3. Do not use the whole body when the action of only 
one of its members is required. 

4. Avoid meaningless gestures ; let every movement have 
a purpose. 

5. Avoid excess in gesture; too few are better than 
too many. 

6. I^ever shock the sensibilities of an audience by too 
coarse an imitation. 

The objects to be attained in Gesture, are ease and appro- 
priateness of manner. These objects are usually only at- 
tained through time and patient toil. The student should 
thoroughly comprehend the Principles, so that in the ap- 
plication of the same he may be entirely unconscious of 
their existence. Unconsciousness will lead to ease, correct- 
ness and variety of movement ; it will also be found that as 
the soul is stirred by thought and feeling from within, or by 
circumstances from without. Gesture will differ at different 
times upon the same assertions, and yet at each time be 
equally appropriate or correct. 

In the adaptation of Gesture to Speech the student should 
study to establish the most perfect harmony — otherwise the 
effect is to a great degree lost, and at no time should he lose 
sight of the fact that the former is a helper rather than an 
exponent of the latter. 



170 PBACTiCAL ELOCUTIOJI. 



METHODS OF INSTRUCTION. 



lu addition to the author's experience of twenty years as an instmctor, daring 
which period he has enjoyed the advantage of rare and varied opportunltlet for 
appreciating the wants of the teacher, it has been his privilege to meai thoa . 
sanda of teachers in professional relations. Theae contacts, and the obserratioua 
they have afforded, have led to much thought and to a profound appreciation of 
the teacher's needs in the direction of his special department. 

Next to the desire of a broad and intelligent comprehension of the subject, 
which ho has made a lifelong study, he entertains no stronger desire than thai 
he may stimulate and help the teacher in his work. No other instruction 
within the province of our educational system possesses an equal degree of 
practical importance with that of natural, chaste and effective speech. It 
relates to the whole man, physical, mental and moral. It relatee to ererf 
man of the whole race. It relates to every grade and occupation. It relates to 
the every-day life of every man of every grade and every occupation. 

To treat the subject of Methods worthily, would require a volume. In the 
absence of time and space to give it such consideration as it deserves, there ha« 
been the temptation to ignore it altogether. It is to be hoped that we have deter- 
mined more wisely in offering what is now before the student under th« tw» 
general divisions, Theory of Teaching and Outline of Methods. 



THEORY OF TEACHING. 



The first thought of a wise master builder for those who 
go down to the sea in ships, is safety of passage. One motive 
governs all other considerations : she shall reach her desti- 
nation and deliver safely all that has been committed to her. 

Note.— 'The Theory of Teaching here presented is from the author's ptip&r 
i-ead before the Pennsylvania State Teachers' Association with only such 
change as has been deemed necessary to its adaptation here, and to the deownd 
for a Hsore comprehensive treatment. 



METHODS OF INSTRUCJTIOlf. I'l 

Though her sails be of fine linen and her timber of the 
goodly cedar, and she be laden with the gold of Ophir or 
with the most precious stones, if her timbers yield to the bil_ 
lows, and her wealth be lost in the deep, all is lost, and her 
greatness remains only in the greatness of that loss. The 
magnificence of her stores only adds to the fearful responsi- 
bility of him who sent her upon the waves thus unworthy. 

While the educator is rearing the structure of the mind 
and freighting it with merchandise, he should remember 
that his work does not culminate wdth a sublime structure 
and an abundant cargo. It lies beyond that. He is not 
great whose mind is merely a great receptacle, though it be 
filled to the brim. That is the vessel of honor which bears 
successfully from port to port all that has been committed 
to it, and he has built well who has meted out such strength 
and pace. He is the educated man, who, freighted with 
wise and noble thoughts, bears them successfully to their 
proper destination. It is the application of knowledge, not 
the possession of it, which constitutes the true end of educa- 
tion. The end of life is in giving, not in recei\ang. A man 
is estimated not for what the world sives to him, but for what 
he gives to the world. Our subject has to do with one great 
medium for the application of knowledge. Very much of 
our education, to be available, must be handled, exchanged, 
conveyed to its proper port. Like the vessel and its mer- 
chandise, it is valuable only at its destination. Along with 
knowledge, therefore, and in proportion to it, comes the de- 
mand for its proper conveyance and application. 

We are by no means disposed to ignore the fact that much 
has been achieved by the silent use of knowledge. Some of 
the richest fruits of philosophy, science and the arts, have 
been given to the world by men and women the most reti- 
cent and non-communicative. Through philosophy, inven- 
tion alone has given untold stimulus to civilization and 
religion, and advanced the world a thousand years. Science 
vies with Revelation in proclaiming the wonderful works of 
God. The arte are quietly lifting the race into a higher 



?RACnCAL ELOCUnOK. 

^-nge of thought and feeling. Tliey are hand-maids of phJ ■ 
lanthropy and civilization, breathing " peace on eaxin and 
gjood will to men." But it has been reserved ror tne hurna/n, 
voice to mould and modify every phase and vicissitude of 
human life. Whether science or art, the family or the 
nation, the Church or State, politics or theology, philosophy 
or religion, its influence is felt in all. -The human voice is 
the great medium for the conveyance of thought and feeling, 
the outlet and passage-way of the soul, the divine current 
which allies man to his fellow. It is the medium by which 
knowledge is made universal ; a canvas upon which we may 
throw thought and feeling that others may see and read. 
Soul is here brought to the surface, made tangible and 
portable. 

But to do this there is needed an instrument, skilled, 
accomplished, disciplined. It must not be supposed that the 
Creator has here made exception to the common law of 
development. Here, as in every other element of our being, 
it is " first the blade, then the ear, then the full corn in the 
ear." It is the common order : germ, form, fruit. And the 
common process : culture, protection, exercise. 

In the treatment of the subject, we shall consider the im- 
portance of vocal culture from the teacher's star^dpoint ; cer- 
tain common, existing faults of instruction ; and such simple 
methods as may be presented without illustration. 

1. Importance. — The importance of a high cultivation of 
the voice is abundantly apparent to us. But it is not enough 
that a teacher be himself informed upon his subject; he 
must be able to inform others. It is not enough that he be 
full himself; he must fill others. How shall we present the 
practical bearings of this subject upon our scholarSr so that 
they may be stimulated to their share of the work ? Stand- 
ing, therefore, in the teacher's stead for a few minutes, let us 
consider the relations of this subject to a generation now Ln 
our hands as clay in the hands of the potter. 

Education in any department is important in proportion 
tsk it gives a healthy development of strength and influence. 



umssoim OF instruction. 17 

Whether considered with reference to self or the race, tha 
foice has the highest claims upon our attention. As a 
physif'-al faculty, the exercise of the human voice concerns 
ielf. A correct, easy utterance demands a natural position 
of the body. Proper position conduces to symmetry of 
form, which means a healthy development of all the physical 
powers. It is a protection to the throat, giving to it muscu- 
lar strength and vigor. It promotes proper habits of breath- 
ing, and calls into play many of the most vital organs of the 
human body. Properly directed, it becomes a most practical 
source of health and grace to the whole being. 

Natural and healthful exercise is a condition of growth 
and development as absolute as air or food. It applies to 
our wdiole triune nature. I gain strength for to-morrow by 
what I have done to-day. The mind expands by its exer- 
tions. The heart that cherishes the affections of to-da}'-, 
burns w^th a brighter and warmer benevolence to-morrow. 
The physical power, therefore, which calls into action the 
greatest aggregate amount of physical force, demands in 
proportion our attention and proper direction. We need 
only call to mind that the throat and lungs, the organs of 
respiration, the air we breathe and the manner of breathing 
it, the proper adjustment of all the parts of the body, posi- 
tion, dress, and digestion itself, are so related to a proper 
exercise of the voice as to receive the utmost advantage 
from it. 

Next to its uses for the sake of self, comes its bearing upon 
the family, and those most nearly allied to us, constituting 
what is known as the Social Circle. Here begins the media- 
borial office of the voioe. It becomes here the current of 
revelation from the within to the without ; and its power 
over the thoughts and affections which it bears from us, 
though not susceptible of measurement, must be regarded of 
fast importance. By it, human weakness may be brought to 
the surfa-ce, and set as a target for the finger of ridicule; or 
it may be covered and hidden from view. Culture of mind 
and the purest affection which the heait can give foitii, mu,;^ 



174 PRACmCAL ELOCUTION. 

come to the surface, coarse and almost vulgar ; or fresh, vig* 
orous and pure as the fountain whence they is3ue. 

The voice may be taught to reflect upon every relation o! 
life. The business man lays his voice by the side of his wares, 
and the eye of the purchaser harmonizes v/ith the ear in its 
ludgment. The ear hears a sound harsh and uncomely ; the 
eye pronounces the cloth coarse and wanting in polish. The 
ear hears a voice apologetic and shrinking ; the eye pro- 
nounces the coffee of questionable quality, and the sugar 
adulterated. The ear hears a voice, firm, pure and confi- 
dent ; the eye sees a fabric of unusual firmness and dura- 
bility. We do not pronounce this principle of absolute 
force, but of such general bearing as to give it the highest 
importance. 

The jmblic man presents himself first to the eye and the 
ear of his audience. His words approach the judgment with 
recommendations from these senses, favorable or unfavorable. 
If tavorable, he sustains to the audience the position of a 
stranger who approaches you v/ith a strong letter from your 
friend. You are thrown on his side, and prefer to help him 
if you can. So the judgment of the audience is thrown in 
the speaker's favor; it prefers to accept his words. If unfa- 
vorable, he sustains the relation of him whose approach to 
you has been preceded by unfair reflections upon his char- 
acter. He finds a barrier in the way of his access to you. 
The voice is in many instances a barrier in the way of a 
speaker's access to the mind and heart,weakening and modi- 
fying the words, sometimes to such a degree that they are 
utterly lost. The voice is often so at variance with the senti- 
ment, as to convey a meaning almost in contrast with the 
purpose of the speaker. But we dare not dwell. It may be 
readily shown in all relations, First, that the voice should 
satisfy, and, if it be possible, gratify the ear. Second, that it 
should sustain and strengthen the sentiment. Third, that it 
should vary in harmony with the sentiment. 

The culture of the voice should be txuglit as a matter r.f 
cleanliness. A sluggish, slovenly tone is as filthy as an un- 
combed head, or a collar ten days worn. It should be taugh/ 



METHODS OF E^STRUCTION. 175 

M a matter of courtesy. You owe it to your neighbor to give 
bim a pure tone as much as the tip of the hat or the moro- 
bg sakitation. It should be taught as an element of happi- 
ness. Our highest happiness is reflex. It is that which 
somes back to us from the joy we have given to others. No 
other agency within the compass of our natural power is so 
adapted to the communication of happiness to others as the 
human voice. It should be taught as an agency of moral 
culture. A voice of dignity and elegance will attract to purity 
and truth, to virtue and religion. Correct sounds should be 
taught as a preservation of the language. Sounds errone- 
ously pronounced during school daya will so develop the 
organs in that direction as to be corrected with difficulty. 
The habit will often prejudice the ear against that which is 
correct. 

Faults. — In considering the faults most common in ouj 
education of the voice, I call attention first to the wide- 
spread habit of forcing loud and boisterous tones, rather 
than intelligent responses. There is a tendency on the part 
of teachers to obtain sound without much reference to sense. 
Very often, too, it is obtained at the expense of every natu- 
ral use of the organs, rendering the voice harsh and discord- 
ant, and physically weakened. It has its worst phase in the 
harsh, fierce utterance of the letters of the alphabet, and in 
spelling and early reading lessons. The child should be 
taught to give the name of the first letter of the alphabets 
and every letter intelligently, as it would to give the name of 
any one object in the room, whole, complete, with firm, pure, 
voice, and nothing more. A greater fault consists in the 
almost total want of attention to the voices of pupils outside 
of the few minutes devoted to the reading classes proper. 
Though the pupil may be in only one reading class, every 
class should be a 'voice class in which the voice is used. It is 
worse than absurd to expect any satisfactory results in the 
culture of the voice while it is used properly in one recitation 
and improperly in/w. If there is anything in practice, then 
ihe faults of the voice must have greatly the advantage. 

Again, the body of sound is rarely correct. The a, e, i, o, v^ 



I-- PRACTICAL ELOCUTION. 

jf speech IS neglected. The organs are not properly set, and 
ui consequence there is not obtained that resonance and flexi- 
.biiity of which almost every voice is capable. Head tones, 
mouth tones, and throat tones are left uncorrected, and with 
every repetition, are more strongly iSxed in the habit of the 
student. 

Then, there is great neglect of the time source of vocal 
strength. Few students in our public schools ever learn to 
command the lower part of the lungs and the abdominal 
muscles during utterance, and in consequence always use tho^ 
voice to disadvantage. The lower muscles of the body con- 
stitute the fulcrum x)orver of the voice, and to speak without 
using them is like lifting a heavy weight from an unnatural 
position. Strength is wasted. Thousands are constantly 
exhausting physical force in speech which might be saved if 
t'le proper organs were brought into play. Had we time we 
could adduce a number of instances of persons whose speech 
hiid become painful and burdensome, who so changed the 
location of the tone in a few days' time as to speak with 
entire ease. 

In Articulation there is almost a universal tendency to a 
sluggish and unfinished utterance of the sounds in a word. 
This fault has various forms, sometimes pervading the whole 
sentence, sometimes affecting only those words in which the 
lips or teeth have a prominent part to perform, and very 
often dropping the last sound of the word. A distinct 
enunciation reflects culture and education upon the speaker 
and shows such a respect for his words, on his own part, as 
will command the respect of the listener. Many of the 
sounds of the language are commonly pronounced incor- 
rectly. Almost every community has perverted some of the 
sounds to such a degree that they have entered into the 
common language of the community and become provincial. 
The teacher is the guardian of the tongue he speaks, and 
should conscientiously protect it from innovation upon. Vi\<: 
authorized sounds which compose the language. 

The faults of Expresnon in the average American ^iis? 



RIETHODS OF INStRUCTIOM. 

indeed •' too numerous to mention." There is monotony of 
expression, and excess of expression. There is the formal, 
stilted, uniform rate, and the loose, reckless, hasty speech. 
There is the pious style of drawl and downward slide, and 
there is the coarse, abrupt and dogged style. Against all of 
these we may reverently use the language of the prayer- 
book, and ask to be delivered. 

A healthy child will usually be found to possess, in a very 
high degree, the elements of varied and appropriate ex- 
pression. It will use the high and the low, the loud and the 
soft, the fast and the slow, with wonderful faithfulness to the 
meaning and would very often require little but protection, 
but too often the example of the playmate and the parent 
and the misdirection of the teacher are sufficient, within very 
early years, to supplant natural simplicity of expression and 
establish in its place painfully unnatural habits. 

In Gesture^ the faults of position and movement, like those of 
expression, are usually acquired through example and mis- 
direction. The child of six, compelled to sit on a square 
foot of territory six hours in the day, will break down under 
the unnatural oppression and the form will droop. The boy 
that is required to " stand erect " only on Friday afternoon, 
when he "speaks his piece," will absorb the idea of a 
mechanical uprightness for the speaking occasion, and that 
some such preparation is necessary every time he makes his 
speech ; and v/e accordingly find in the pulpit and at tlie bar 
more upiightness than grace. The healthy little child, as a 
rule, is graceful and appropriate in its movements. The 
larger child has rounded shoulders and drags his feet a little. 
The largest child droops in body, walks with bowed legs and 
carries his head at an unnatural poise, and the man and 
womAxn are the natural result of the years of such training. 

3. Remedy. — The remed}^ for many of the faults so common 
in speech lies within the reach of almost every teacher. No 
instrument was ever committed to human care and manage- 
ment, capahls of such delicate variety and harmony as the 
Voice of the average child. Pure as the morning breeze^ 



178 PRACTICAL ELOCUTION. 

•porting as the winged songster, versatile as the mountaiii 
stream, is the prattle of happy childhood. Nature lia« 
shown herself more lavish in the instrument of communica- 
tion than in the knowledge to be communicated. The God- 
given voice is greatly superior to the God-given knowledge. 
The natural suggestion is, that the culture of the voice should 
be assigned its proper place in the van of all higher culture. 
The fact is, they are educated inversely. Processes of devel- 
opment are applied to the mind tending to natural and vig- 
orous gro^vth. A lifetime is devoted to storing in knowledge, 
while the great channel of communication is almost entirely 
neglected. The voice is left to itself; and, in one, is dwarfed 
for want of the necessary attention and nourishment; in 
another, for want of proper pruning and direction, is allowed 
to run into the most unnatural vagaries. 

We submit, there should be early attention given to the 
habits of voice in the child. The voice in recitation should 
not be diverted from the simplest and purest tones of ita 
ordinary use. When false tendencies are discovered, they 
should be promptly corrected, whether on the play-ground, 
in the morning salutation, or in the grammar recitation, as 
well as in the reading class. The current of tone should be 
kept in the proper channel, and the stimulants of cleanliness, 
courtesy, business and morality, to which reference haa 
already been made, applied in due proportion and with due 
caution. A faculty of such constant exercise, it is eminently 
important that the most careful attention be given to the 
habit of voice in the practice of the child. 

I am told that so little attention has been given to this 
subject in the education of the teacher, that he is unprepared 
to criticise the voice of the pupil. 

While admitting the force of the difficulty, yet were he 
ordinarily to apply the principle of correcting bad habita as 
far as he knows, we believe great good would be done, and 
he would be led to the discovery of much that is unknown. 

In addition to this direction and correction of the voice; 
pleasing and varied exercises should be mingled with tht 



MSTMODS OF INSTRUCnoer. 171 

reading exercises, such as the ear will enjoy. The ear should 
be led as rapidly as possible to mjoy sounds. It will thus 
soon discriminate between what it likes and what it dislikes, 
and this accomplished, the point of a higher and closer dis- 
crimination is not far distant. The teacher should aim to 
secure in the pupil the criticism of his own ear. A moat 
important work is done v/hen this is attained. Every indica- 
tion in this du-ection should be encouraged by the teacher. 
When the fiat, high, hard, harsh or excessive nasal tones are 
observed by the pupil, and fmrt as they fall upon the ear, the 
teacher's work is largely done. The student is then put under 
a critic more faithful and constant than the teacher can pos- 
sibly be to him. 

Nothing can take the place of judicious exercise of the 
elementary sounds in early practice. The drill on these, 
carefully varied, should form a daily exercise in our primary 
schools. The greatest care should be taken in all these ex-* 
ercises to develop chest tones, versus head, throat, or mouth 
tones. I shall suggest a single additional element in the cul- 
ture of the voice. The teacher cannot impress the value of 
proper breathing with too much emphasis. Deep, full breath- 
ing should be urged as a habit, not merely as an exercise. 
Every muscle and organ within the whole range of the re- 
spiratory system should act with each successive breath. 
The intercostal muscles are very largely dependent upon 
breathing for their exercise. By it, the lungs are rendered 
capacious and flexible, the muscles of the sides and back are 
strengthened, the whole body has added form and comeli- 
ness, and the voice obtains a strength and resonance which 
it can have from no other source. 

A new era is dawning in the history of education with 
reference to human speech. In oxir haste after principles 
we have overlooked the fact, that culture as well as know- 
ledge must supplement nature. In the palmy days of oratory, 
and in the age of its masters, the culture of the voice was 
held of first importance. We believe that within the possi- 
bilities of thi» wonderful instrument, there may be found a 



M PRkOflClL KLOOOTlOir. 

response to every sentiment of the mind and every emotion 
of the heart. And it is not an idle hope that in proportion 
as the mind of man expands to a wider range, and th« 
human heart glows in a higher benevolence, and human 
nature is absolved from sin, the voice may be first to reflect 
the Divine image, in tone* iuch ai make up the melody oi 
Heaven. 



OUTU/i/E OF METHODS. 

Idea. 



Primary Instruction. 



{Idea word. 
Other wordb. 
Sound. 

Lettek. 
TsADiva. 



Stjsgbstiok to thb Tbachite.— While it is believed that a somewhat detnita 
•rder of outline will best represent to the teacher the important principles in- 
♦olred in Primary Instruction, yet it ia by no means supposed that he will 
follow, slavishly, the explanation of the several steps here given. 

The teacher should have in mind some simple ientenoe, 
for example, "It is my hat." Presuming that the pupils 
know nothing of the letters or werds, the task before him is 
to teach them the thought of the sentence, the four words, the 
seven different letters and the seven sounds which compose 
the sentence, and to enable them to express the thought 
naturally, uoon sight. The latter is preeminently the end to 



METHODS OP INSTBUCTIO». 181 

be attained, and the steps leading to it should be so con- 
ducted as will best accomplish this end. 

Idea. — The teacher may introduce the object hat to his 
class, and conduct an object lesson. It will aid in impressing 
the appearance of the word when it is presented. 

Idea Word. — The class may be lead by appropriate ques= 
tions, to the idea involved in the sentence. When I say 
" hat," what do you think about ? When I show you this 
(pointing to the object, hat), what do you think about? 
What is the name of this object? That name is a word. 
Can you see the word " hat " when I say it with my mouth ? 
Where are words put so that you can seQ them? Vv^ould you 
know the word " hat " if I should show it to you ? I will 
now show you the word " hat," and I want you to remember 
what it looks like, so that you will know it whenever you 
see it. 

Nothing more should be attempted at this lesson than to 
impress the appearance of the word " hat " upon the mindi 
of the class. 

Sounds.— By prolonging the pronunciation of the word 
"^ hat," the teacher can readily show to the smallest clase^ 
that it is composed of different sounds ; and that, to say the 
word " hat " is only to put these sounds so close together that 
no one will know where they are separated. The children 
should, at the same time, be taught to give the sounds. 

IjETTER. — Each one of these sounds has a name. Tell the 
children that the name of the first sound heard in the word 
" hat " is h. Show them the letter h and show them, that it 
is the same as the first mark or form in the word " hat.*^ 
The sound and the name of the sound should then be 
frequently alternated until the class will associate them 
readily, and promptly recognize either. 

Other Words. — The other words of the sentence should 
be taught first by name and then separated into sounds 
according to the methods suggested for the word " hat." 

Reading. — The teacher of primary pupils should not 
force upon them any technical definition of Reading, but li9 



184 VAAcmoAL ELOocnor. 

should so coivducj; their approach to it, that they will ahsoK 
the idea that Beading is mying something from words thai cw« 
seen. 

The pupils, before seeing the sentence, "It is my hat,'* 
should be capable of pronouncing the vxyrds of the Bentence 
upon sight, aa promptly aa they would pronounce the 
names of their classmates or of their brothers and sisters. 
The teacher should call from the child an expression of the 
sentence before it is seen : " Harry, suppose your hat is in 
your hand. If I ask you, whose hat have you in your hand, 
what will you say?" He may answer, "It's mine." The 
teacher need only tell him that it is prettier and more cor- 
rect to say, " It is my hat," and that, as he comes to school 
to learn, he should now answer in those words. Harry, 
whose hat is that? The answer will be an expression and not 
a merely formal utterance of the words, as if the teacher had 
pointed in succession to " It " and " is " and " my " and 
" hat." The expression thus obtained should then be used as 
a model for the child. How did you say "It is my hat?" 
The child repeats, and in the repetition ia copying from his 
own natural expression, or from nature. 

The model having been obtained, let the teacher direct the 
pupils to the sentence upon the board or chart, asking, 
" What have you in your hand ?" They will answer with 
a proper expression of the words which their eyes now see. 
Tell them this is reading, and they have absorbed the idea 
that Reading is saying something from words that are seen. 

The object has been to approach E-eading by another path 
than through praaunckUion. The usual impression left 
upon the child is, *' When I can pronounce the words of the 
sentence, I can read it. I can pronounce the words of this 
sentence, therefore I can read it." This is fundamentally 
wrong. It is exalting a prerequisite of reiiding to reading. 
Pronunciation, or knowing words on sight, is as much a pre- 
requisite of Reading aa knowing figures is a prerequisite of 
arithmetic. Pupils should be constantly impressed with the 
idea, when they attempt to read, that it is taksn for grarUed 



METaoi>s OP msTKuarsm, 188 

that they know the words. By the above prooees, the pupil 
will be early led to comprehend that when he, knowing the 
words, knows what they mean, attd says them that others may 
Icnow what they Tnean, he is reading. 



ADVANCED INSTRUCTION. 

Processes for the oultivation and inodulaiion of the voices 
a further knowledge of the sounds of the language and 
of their modifications, and the study and practice of gesture, 
should here be introduced, according to the age and grade of 
the pupils, and continued systematically in connection with 
all the lessons in reading. The principles governing Piimary 
Instruction should be continued as long as there is necessity 
for them. The great principle there presented should be 
kept equally prominent in Advanced Instruction. 

The following outline is presented as a suggestive guide to 
the teacher of the advanced reading class : 

First. Kead the lesson for the class. 

NoTK.—Pnpils win thus obtain a general impression of the sele^ttoa, vmk 
will be stimulated to the preparation of the thought. 

Second. Pupils prepare sentiment of the lesson. 

NoTK.— This relates to their study of the selection between recitations. 
Third. Pupils give back the sentiment of the lesson in 
their own words, with explanation and anecdote. 

N©TiE.— At least one period should be thus devoted preparatory to reading a* 
new selection. It is a test of the pupils' haowledge of the sentiment. It culti- 
vates co»»v»r>j«^io» outside of the usual commonplace conversation of chil- 
dTen. It cultivates % oonversational style of «^«awon and establishes Ifao 
ihcntght of the lesson in the mind of the pupil. 

Fourth. Word preparation. 

Mf&b, Heading. 

KoTK.— Ordy a paxfc of the lesson sbonld be assigned for word preparation «W 
PBRdlng, by which we refer to such practice on the difficult words as wt'l secu, ,« 
their familiarity to the ey© of the scholar ; also, the reading of individual m-*^r 
Unoes and paragraphs with reference to expresaioa. 



II 



184 PRACTICAL BLOCDTlOlf. 

Sixth. Review upon merit. 

Note 1 — A half dozen lessons may b« deTotod to the atxrve exerclsea npoB i 
eingle selection. The pupils should be marked upon their lessons as in oihei 
branches, and allowed, according to the rank of their marks, to read a part 
or all of the selection before the class. This exercifio may be continued in tlte 
order of the marks received ujx)n preparation, until all have read before the 
class. 

Note 2.— Two selections may be kept before the class at one time, on© in the 
process of review upon merit, the other in the process of preparation. This, 
\rlth practical exercises, as suggested, will give abundant variety to the recita* 
tion. 

To THE Tkacheb.— The teacher who desires to obtain for his pupils rapid 
progresfl in pure, natural expression, should be faithful in his observation and 
criticism upon their habits of speech in all the recitations of tie school, and 
as he may meet them at their homes or upon the nlayground The lesson in 
geography or arithmetic should b« given in pure roioe, clear < 
With inielligeat ez|>r«8al«B. 



APPENDIX. 



MISCELLANEOUS SUGGESTIONS. 



1. In Reading and Speaking, let each separate thonght b« 
,vell defined ; let it be expressed with fuU meaning and in 
due proportion. 

2. With reference to Enunciation there should be such a 
nearness of the words, the one to the other, as will preserve 
a magnetic connection, and yet sufficient separation to pro- 
tect the individuality of each. A failure to observe the first 
will give a labored style; and a failure to observe the second 
will produce indistinctness. 

3. The speaker should be governed by the following fanda* 
mental print;iples in the study of Public Address. First. 
He should reduce the expression to natural and original 
gimplieUy and truth, measured by an appropriate conversa- 
tion of the same language to a single individual. Second. 
He ihould eo magnify that original simplicity that it may b« 
as forcible to each of a multitude as it would have been if ad- 
dressed to one individual. 

4. The student should practice frequently, and obRdrv* his 
hahit coTistajifly, rather than to continue* practice until weftry 
*nd disinterested* 



S86 tsjjyacJkL KLoomaov. 

5. In reference to style of expression, the student should 
practice often against inclination and natural tait© ; otJior-. 
wise he will become limited in style. 

6. Keserve characterization for such sentiment as is depend* 
ent upon the characterization for its effect. When it is ap- 
y are] it that an author has written for the ihougJU, though put 
in the mouth of a specific character, the reader should make 
prominent the thotujht ratiier than divert it by intruding the 
character. 

7. The study of Elocution is the study of the highest natu- 
ral expression. Our highest natural expression can only bt 
attained through our hio:he8t manhood and womanhood. 
The student, therefore, should regard chabacter in Toic« 
and manner m of primary importance in th9itudy of Elocu- 
tion. 



EMPHA8I8. 



Emphasis gives due prominence to the important thoughtt 
01 discourse. It employs all the procesaes of expreiiion, 
quality, pitch, force, time, and slides. 

A sentence is usually composed of a capital idea, subordi- 
nate or dependent ideas, and their connections. The word 
or words expressing the capital idea represent the object for 
w^hich the sentence was written, and claim such emphasis 
as will give it corresponding prominence in speech. The 
subordinate ideas are modifications of the capital thought, 
and the word or words expressing them require correspond- 
ing modifications of emphasis. The connectives are the 
iinkinga of the capital and subordinate ideas, and usually 
require little more than a correct vocal utterance for their 
expression. Varied and appropriate emphasis constitutes 
the highest skill of intellectual expression. 

Grouping. — A proper grouping of words closely related to 
each other is highly important to correct Emphaais. 



Appwssau 



MISCELLANEOUS VOCAL EXERCISES. 

NoTB. — The followiBg exercises may be mad© a continaatlon of th» Table <rf 
Vocal Exercises on page 41. They may be used with great interest «md profit 
hj the judicious teacher in connection with, or in preparation iar, ^he r^folar 
«r«ading lesson. 

e 
ah ah 

1. aw aw 

Note.— Thes« sounds, In th© order they are plaeed. If properly remderet, 
will represent the purest cMtty throai, and ftsttd tones of which the Tolce is 
eapable. The student should be careful to observe that there Is a pnre threat 
(one and a pure head tone. In contradistinction from the ehest tone, h%i thaA 
each should possess what may be termed a chest r«cenaaee. 

2. Co, boss I CO, boss ! co 1 co I co ! 

3. Toll, toll, toll. Hurrah I hurrah ! hurrah! 

4. A, a, 5, 6, i, 1, 6, 6, Q, t. 

NoTK.—These may be practiced in various ways, but a special advaxf^ie May 
be received from their frequent repetition In the same breath. 

5. Select the names of a number of hotek, and •x\>rft 
them according to taste or fancy, in imitation of a Tari»§g' of 
hackmen at a railroad depot 

6. Battalion— Right about — ^Turn — Forwawi 
Halt — Fix Bayonets — Quick — March. 
Double — Charge. 

7. " Pull, pull in your lassos and bridle to steed, 

And speed, if ever for life you would speed, 
And rid© for your lives, for your lives you must ride : 
For the plain is aflame, the prairie on fire; 
And feet of wild horses hard flying before, 
I hear like a sea breaking high on the shor©; 
While the bufialo come like the surge of the sea, 
Driven far by the flame, driving fast on us thr««, 
As a hurric-ane comes, crushing palms in hi» ire :" 

Note. — ^Th!s exercise is given with special reference to economy of breath, 
liead vapidly, articulate distinctly, and consume the least poesibls breath. 



IM 



YRicncAL sLoouTcoar. 



8. 



Charcoal, charcoal, charooiX 
Charcoal, charcoal, charcoal. 



charcoal, charcoal, charcoal 

Charcoal, charcoal, charcoal, 



ol, charcoal, charco 



Charco 



ol, charcdJ.' 



NoTK.— In the first of these exercises there should be a separation of pitch 
between the first three and the second three, to the extent of an octare. In th« 
second, change the pitch to the same degree upon each successiTe word. In th» 
third esercise, let the voice pass through the same degr«e of pitch, making ths 
•banges as ,the diagram suggests. 



9. Vary the long vowel sounds among the different forms, 
(as represented by the Table of Vocal Exercises,) changing 
at will ; also according to the several qualities and othet 
modulations of voice. 

10. Oyez! oyez! All— persons— having — business — to- 
do— with— the— Circuit— Courl>— of — the —United— States— 
for — the — Southern — District — of — New — York — draw — near 
—give — your — attention — and — you — shall— be— heard. 



11. Boat ahoy ! 



12. 



s 






jTrjujujuiUii^J-'J^ ' -Xj-i ^ 



/. I hear them now upon the hill, I hear them faint-er and faint-er still. 
p. I hear them now up-on the hill, I hear them faint-er and faint-er Btill. 
pp. I hear them now up-on the hill, I hear them faiut-er and £aint-er stiU. 



^s 



^m 



They stole, they stole, they stole my child a - way. 
^Iiey sto^ they stole, they stole my child a - wajjr; 



APFBSTDOU 199 



LAUGHTER. 



Ko other exercise is more healthful, either to the mind or 
body, than pure, natural laughter. The judicious practice of 
this as an exercise, in representation of the various styles of 
laughter, will be found useful and invigorating. Here again 
the long vowel sounds alone, or preceded by the sound of hy 
may be used with excellent effect. The student will readily 
find other exercises appropriate for practice. 

BIBLE READING. 

It will be conceded that no other language is so rich in 
meaning as the language of the Bible. Great leading truths 
are but the branches upon which cluster the most varied 
practical lessons of wisdom and virtue. 

Almost whole books of the sacred writings are marked in 
each successive sentence with this abundant fruitfulness of 
meaning. With but an equal amount of attention and 
preparation, it is, therefore, but natural that there would be 
correspondingly, a greater failure in giving fall and complete 
expression to the language of the Bible than t<> the language 
of human origin. 

In the most ordinary forms of speech, a part of the sense 
is constantly lost for want of a proper adaptation in the 
modulations of the voice. How m.uch more this must be 
true where almost every word has an important bearing 
upon the whole, thus requiring a constantly changing 
variety of tone, time, stress and slide, in giving completeness 
to the sense. Here may be based two great classes of evil* 
in expression. 

1st. ThM form of expression which yidds only a part of the 
meaning. \V© have a vast field of utterance, marked by 
various degrees of monotony, in which only a part of the 
meaning is brought out. ISTo injustice may be done to that 
Whieh is aaidj but it is not aU said. Important words are lost 



yaO PRACTICAL ELOCUTION. 

in th« general tone. The lights and shades of modulation 
are slighted, thus robbing the author of much that his words 
should have been made to convey. Through ignorance of 
the power of these changes, or the neglect of them, precious 
utterance are rendered fruitless and barren. 

2d. A perversion of the true meaning. A quality of voice at 
variance with the sentiment, an improper pitch, a misplaced 
emphasib, inappropriate time, a false slide or inflection, may 
80 utterly desiroy the sense, and misrqyresent the meaning, as 
to divert the words entirely from their purpose. 

It should be made the conscientious practice of every 
reader of the Bible, first to satisfy his own mind as to the 
meaning of each passage, and then to see that his rendering 
will properly represent that meaning. 

In addition to these common wants of expression, there is 
a variety of styles, in popular use, peculiar to Bible reading, 
against which we utter a most respectful, though a most 
•amest protest. 

Ist. Professional Style. 

This is capable of lub-division into ft number of varieties, 
but with so little in favor of either, as to give no ground for 
distinction in the general objection. The reader should 
avoid any style that is professional, if for no other reason than 
that it is professional. 

2d. Inflated Style. 

There is that form of utterance which says in the tone and 
manner, "I am commissioned to handle this message. 
Behold me! Listen to me I" At which, great swelling 
sounds issue forth, with the unfortunate effect that Divine 
words are lost in human sound. We should ever recopjnize by 
a humility of tone and manner that the words are Jehovah's. 

8d. Pious ToriA. 

W© are not opposed to the utmost purity of voice, marked 
with a manly dignity and a becoming solemnity, but there 
^evails a variety of eant and whine which should fall undeJ 



the same condemnation which God Himself pronounces 
upon other lip service. The best gift which God gave to man 
in the flesh, is his manhood; and we will not beheve that He 
meant we should lose that manhood when uttering His 
words. If ever it should glow and burn in all its Divine 
origin, it is when thus standing in God's stead. 

4th. Trifling Style, 

This style, in contrast with professional dignity and •xces- 
sive piety, is no less to be guarded against. King's messages, 
the proclamations of Chief Magistrates, the language of the 
wise and learned, claim a corresponding dignity of expres- 
sion ; how much more the words of Infinite Power and of 
Infinite Wisdom. 

It is evident that the very purpose of the Divine Word 
may be thwarted by the tone and manner. God has made 
His word simple. Do not rob it of that simplicity by bring- 
ing in a profundity of expression. He has brought it down 
to the comprehension of the human mind. Do not give 
such an inhuman utterance as to raise it up out of the reach 
of humanity. 

God has made it plain. Do not involve it in mystery by 
vacant, weird and professional tones. God meant it for man. 
Do not read it to the angels. It is the word of the dear 
Heavenly Father, full of mercy and the tenderest affection. 
Do not read it as the message of an Absolute Monarch. 
Yet, it is God's word. Avoid that reckless vagabondish man- 
ner which so often marks the utterance of human language. 

It is God^s truth, rneant for man, Bead it as of old they 
read " in the law of God, distinctly, and gam* ih* atiUSf and 
caused tfhem to understand the reading." 

SOUND TO SENSE. 

A vast number of words in th« langtiage afford apodal 
opportunity for «ignificant expression through the iounds of 
which they are composed. There ic an obnoui harmon/ 



192 pRAomcAL sxocunoiT. 

between the sounds and the meaning of the words, m Ih 

the following examples : Dash, round, noble, rich, sublimo, 
brisk, strength, poor, little, great, whirlwind, glory, rough, 
smooth, fresh, victory, thunder, old, ragged, murmur, repose* 

Note. — Such words are much more numerous than is generallj supposed^ 
and they should be carefully practiced ia the preparation of a selection. 



TRANSITION. 

Prompt and appropriate change of voice and manner In 
harmony with the changing eflfects of language, is indis- 
pensable to the art of expression. Discourse is often like the 
dissolving view, interesting and effective largely from its 
contrasts. It requires one or more of the corresponding 
contrasts of quaUty, pitch, force, time, position, countenance, 
or movement. 

MALms, 

With a view to a clear comprehension of the language to 

be spoken, it is highly important that the student form the 
habit of a close analysis of the thought, and of the applica* 
tion of modulation and action to its expression. The intelli- 
gent student of literature will have practical methods for th© 
mental analysis of sentiment, yet he may be aided towards 
its expression by the answer of such questions as the follow- 
ing: Who wrote the language? When did he write it? 
V/ny did he write it ? What were the motives which prompted 
iiim to think the thought here expressed ? What would be 
the state of mind and heart of one in a condition to utter 
■uch language? If the conditions of life had so borne upon 
me as to call from me such thought, how would I express it? 
When the reader has thus investigated the language of the 
author, and analyzed the source of the thought it expresses, 
he has touched a corresponding source in his own nature, and 
has sprung upon himself the motives and the conditions of 
mind and body best fitted to its expression. 



APPKNDIS. 19<i 

In addition to this general analysis he may also ascertain 
the character of tone, the changes of tone, the position 
of the body, and the movement necessary to express tiia 
particular thought. Wliat general quality of voice should 
be used to express the thought ? Does the language suggest; 
any exception to the general quality ? What is the general 
pitch ? And what are the exceptions to the general pitch? 
What is the prevailing force and what are the exceptions to 
the prevaihng force? With reference to slides, do tho 
positive or negative qualities of sentiment prevail ? What 
attitude or position of body would best reflect the general 
thought, and what changes are demanded? What of the 
facial expression ? Does the language suggest conversational, 
oratorical, or dramatic action ? 

Such analysis as this on the part of the student will lead 
to a prompt and appropriate association of voice and manner 
with the sentiment to be expressed. 

NoTB.— The student wIH eonstantly fiad difficulty in distlnguishiag the quality 
of the Toice or the degree of pitch or force, or the shade of slide, or the particu- 
lar action which the thought suggests. Sentiment is so suhtle and its change* 
BO imperceptible that it will be impossible to follow it by any order of reasoning. 
and he must be content with diseoTering the i97%den^ of th* thought with X9i9c\ 
•ace to tlie yarious mediuma of ezpreMion. 



REPOSE. 

Our conceptions of God lead us to think of a being not idle, 
but one to whom labor is rest; so wise that He knows without 
exertion ; so abundant in resources that the supply is ever 
equal to the demand. A noble conception of God has never 
created a being subject to excitement, or agitation, or one 
who could be moved or changed by the agitations of His 
creatures. He spake and it wa^ brought forth. He speaks 
and it is done. He bids alike the storm or the calm. H« 
commands the light or the darkness, and it obeys him. 

Art is the effort of the creature to reproduce the worlj o( 



PRACTICAL BLOCUWOir. 

the Creator. When God made man, He breathed into him 
the breath of life, and in that breath of life was the breath or 
germ of divinity, and in proportion as man becomes infused 
with the divine breath, in proportion as he has much of God* 
within him may he hope to breathe into his art divine breath, 
be it the marble, the canvas, the printed page, or the human 
voice ; and no other power of art will so reflect divine power 
as repose. The highest power is mastery, and the highest 
mastery is self-mastery, and of self-mastery repose is the em- 
blem. The orator, next to God himself, needs to possess 
the world, and to possess the world he must first possess him- 
self,— -his hand, his foot, his eye, his breath, his body, his 
mind, hia soul. Then, art ihall hay« linked itself witb 
iivioUjr. 



SELECTIONS FOR PRACTICE 



SANBALPHON. 



HAVE you read in the Talmud of old. 
In the Legends the Rabbins have told 
Of the limitless realms of the air ; 
Have you read it — the marvelous story 
Of Sandalphon, the Angel of Glory, 
Sandalphon, the Angel of Prayer? 

How, erect, at the outermost gates 
Of the City Celestial he waits, 

With his feet on the ladder of light. 
That, crowded with angels unnumbered^ 
By Jacob was seen, as he slumbered 

Alone in the desert at night ? 

The Angels of Wind and of Fire 
Chant only one hymn, and expire 

With the song's irresistible stresi — 
Expire in their rapture and wonder. 
As harp-strings are broken asunder 

By music they throb to expresi. 

But serene in the rapturous throng, 
Unmoved by the rush of the song, 

With eyes unimpassioned and slow. 
Among the dead angels, the deathless 
Sandalphon stands listening, breathleea. 

To sounds that ascend from below r — 

197 



193 PEACTICAL BLOCUTIOK. 

From the spirits on earth tha-t adore, 
From the souls that entreat and implore 

In the fervor and passion of prayer ; 
From the hearts that are broken with loseea^ 
And wea2*y with dragging the crosses 

Too keavy for mortals to bear. 

And he gathers the prayers as he stands, 
And they change into flowers in his hands, 

Into garlands of purple and red ; 
And beneath the great arch of the portal. 
Through the streets of the City Immortal 

Is wafted the fragrance they shed. 

It is but a legend I know, 
A fable, a phantom, a show, 

Of the ancient Rabbinical lore ; 
Yet the old mediaeval tradition, 
The beautiful, strange superstition. 

But haunts me and holds me the more. 

When I look from my window at night, 
And the welkin above is all white. 

All throbbing and panting with stan, 
Among them, majestic, is standing 
Sandalphon, the angel, expanding 

His pinions in nebulous bars. 

And the legend, I feel, is a part 

Of the hunger and thirst of the heart — 

The frenzy and fire of the brain. 
That gi-asps at the fruitage forbidden, 
The golden pomegranates of Eden, 

To quiet it« fever and pain, Longflixow. 



BCHO AND KABCISSUS. 199 



ECHO AND NARCISSUS. 



ECHO was a beautiful nymph, fond of the woods and 
hills, where she devoted herself to woodland sports. 
She was a favorite of Diana, and attended her in the 
chase. But Echo had one failing ; she was fond of talk- 
ing, and whether in chat or argument, would have the last 
word. One day Juno was seeking her husband, who, she 
had reason to fear, was amusing himself among the nymphs. 
Echo by her talk contrived to detain the goddess till the 
nymphs made their escape. When Juno discovered it, she 
passed sentence upon Echo in these words : " You shall for- 
feit the use of that tongue with which you have cheated 
me, except for that one purpose you are so fond of — reply. 
You shall still have the last word, but no power to speak 
first." 

This nymph saw Narcissus, a beautiful youth, as he pur- 
sued the chase upon the mountains. She loved him and 
followed his footsteps. O, how she longed to address him 
in the softest accents, and win him to converse; but it 
was not in her power. She waited with impatience for 
him to speak first, and had her answer ready. One day 
the youth, being separated from his companions, shouted 
aloud, "Who's here?" Echo replied, " Here." Narcissus 
looked around, but seeing no one, called out, " Come !" 
Echo answered, " Come." As no one came, Narcissus 
called again, " Why do you shun me ?" Echo asked the 
same question. " Let us join one another," said the 
youth. 

Th^ maid answered with all her heart in the saioe 
words, and hastened to the spot, ready to throw her arras 
about his neck. He started back, exclaiming, "Hands 



200 PRACTICAL ELOCUTION. 

off! I would rather die than you should have me !" " Have 
me," said she ; but it was all in vain. He left her, and she 
went to hide her blushes in the recesses of the woods. From 
that time forth she lived in caves and among mountain cliffs. 
Her form faded with grief, till at last all her flesh shrank 
away. Her bones were changed into rocks, and there waa 
nothing left of her but her voice. With that she is still 
ready to reply to any one who calls her, and keeps up her 
old habit of having the last word. 

Narcissus' cruelty in this case was not the only instance. 
He shunned all the rest of the nymphs, as he had done 
poor Echo. One day a maiden, who had in vain endeav- 
ored to attract him, uttered a prayer that he might some 
time or other feel what it was to love and meet no return 
of affection. The avenging goddess heard and granted 
the prayer. 

There was a clear fountain, with water like silver, to 
which the shepherds never drove their flocks, nor the 
mountain goats resorted, nor any of the beasts of the forest, 
neither was it defaced with fallen leaves or branches ; but 
the grass grew fresh around it, and the rocks sheltered it 
from the sun. Hither came one day the youth fatigued 
with hunting, heated and thirsty. He stooped down to 
drink, and saw his own image in the water ; he thought it 
was some beautiful water-spirit living in the fountain. He 
stood gazing with admiration at those bright eyes, those 
locks curled like the locks of Bacchus or Apollo ; the 
rounded cheeks, the ivory neck, the parted lips, and the 
glow of health and exercise over all. He fell in love with 
himeel£ 

He brought hii lips near to take a kiii ; h« plunged his 
arms in to embrace the beloved object. It fled at the 
iouch, but returned again after a moment and renewed the 



BCHO AND If ABCI80US. 301 

fascination. He could not tear himself away ; he lost all 
thought of food or rest, while he hovered over the brink 
of the fountain gazing upon his own image. He talked 
with the supposed spirit : " Why, beautiful being, do you 
■hun me ? Surely, my face is not one to repel you. The 
nymphs love me, and you yourself look not indifferent 
upon me. When I stretch forth my arms you do the 
same, and you smile upon me and answer my beckonings 
with the like." His tears fell into the water and disturbed 
the image. As he saw it depart, he exclaimed, " Stay, I 
entreat you ! Let me at least gaze upon you, if I may not 
touch you." 

With this, and much more of the same kind, he cher- 
ished the flame that had consumed him, so that by degrees 
he lost his color, his vigor, and the beauty which formerly 
had so charmed the nymph Echo. She kept near him, 
however, and when he exclaimed, " Alas ! alas !" she an- 
swered him with the same words. He pined away and 
died ; and when his shade passed the Stygian River, it 
leaned over the boat to catch a look of itself in the waters. 
The nymphs mourned for him, especially the water 
nymphs ; and when they smote their breasts Echo smote 
hers also. They prepared a funeral pile, and would have 
burned the body, but it was nowhere to be found ; but in 
its place a flower, purple within and surrounded with white 
leaves, which bears the name and preserves the memory of 
Narcissus. TnoMAi BuLPmcH. 



9^ PllACTICAL ELOCUTIOir. 

LADY CLARA VERE DE VERB. 



LADY Clara Vere de Vere, 
Of me you shall not win renown : 
You thought to break a country heart 
For pastime, ere you went to town. 
At rae you smiled, but unbeguiled 

I saw the snare, and I retired : 

The daughter of a hundred Earls, 

You are not one to be desired. 

Lady Clara Vere de Vere, 

I know you proud to bear your name ; 
Your pride is yet no mate for mine. 

Too proud to care from whence I came ; 
Nor would I break for your sweet sake 

A heart that dotes on truer charms. 
A simple maiden in her flower 

Is worth a hundred coats-of-armi. 

Lady Clara Vere de Vere, 

Some meeker pupil you must find ; 
For, were you queen of all that is, 

I could not stoop to such a mind. 
You sought to prove how I could love, 

And my disdain is my reply : 
The lion on your old stone gatet 

Is not more cold to you than I. 

Lady Clara Vere de Vere, 

You put strange memories in my head ; 
Not thric« your branching lim«i have blowft 

Since I beheld young Laurence dead. 



LADY CLARA VEBE DE TBKE. 20§ 

O, your sweet eyes, your low replies ! 

A great enchantress you may be ; 
But there was that across his throat 

Which you had hardly cared to see. 



Lady Clara Vere de Vere, 

When thus he met his mother's view. 
She had the passiens of her kind, 

She spake some certain truths of you : 
Indeed I heard one bitter word 

That scarce is fit for you to hear ; 
Her manners had not that repose 

Which stamps the cast of Vere de Vere. 

Lady Clara Vere de Vere, 

There stands a spectre in your hall : 
The guilt of blood is at your door ; 

You changed a wholesome heart to galL 
You held your courae without remorse, 

To make him trust his modest worth ; 
And, last, you fix'd a vacant stare, 

And slew him w4th your noble birth. 

Trust me, Clara Vere de Vere, 

Prom yon blue heavens above us bent 
The grand old gardener and his wife 

Smile at the claims of long deto«iit. 
Howe'er it be, it seems to me 

'Tis only noble to be good : 
Kind hearts are more tha,n coronets, 

And simple faith than Norman blood. 



204 PRACTICAL ELOCUTION. 

I know you, Clara Vere de Vere : 

You pine among your halls and towen ; 
The languid light of your proud eyes 

Is wearied of the rolling hours. 
In glowing health, -with boundless wealth. 

But sickening of a vague disease, 
You know so ill to deal with time, 

You needs must play such pranks bm thett. 

Clara, Clara Vere de Vere, 

If time be heavy on your hands, 
Are there no beggars at your gate. 

Nor any poor about your lands ? 
O ! teach the orphan-boy to read ! 

Or teach the orphan-girl to sew ; 
Pray Heaven for a human heart. 

And let the foolish yeoman go. 

Alfred Tennybojt. 



MASSACHUSETTS AND SOUTH CAROLINA. 



I SHALL not acknowledge that the honorable member 
goes before me in regard for whatever of distinguished 
talent, or distinguished character, South Carolina has pro- 
duced. I claim part of the honor, I partake in the pride, 
of her great names. I claim them for countrymen, one 
and all ; the Laurenses, the Rutledges, the Pinckneys, the 
Sumters, the Marions, Americans all, whose fame is no 
more to be hemmed in by State lines, than their talents and 
patriotism were capable of being circumscribed within th« 
same narrow limits. In their day and generation, they 
served and honored the country, and the whole country ; 



MASSACHUSETTS AND SOUTH CAROLINA. 203 

and their renown is of the treasures of the whole country. 
Him whose honored name the gentleman himself bears, 
— does he esteem me less capable of gratitude for his pa- 
triotism, or sympathy for his sufferings, than if his eyes 
had first opened upon the light of Massachusetts, instead 
of South Carolina ? Sir, does he suppose it in his power 
to exhibit a Carolina name so bright as to produce envy in 
my bosom ? 

No, sir, increased gratification and delight, rather. I 
thank God that, if I am gifted with little of the spirit 
which is able to raise mortals to the skies, I have yet none^ 
as I trust, of that other spirit which would drag angels 
down. When I shall be found, sir, in my place here m 
the Senate, or elsewhere, to sneer at public merit, because 
it happens to spring up beyond the little limits of my own 
State or neighborhood ; when I refuse, for any such cause, 
or for any cause, the homage due to American talent, to 
elevated patriotism, to sincere devotion to liberty and the 
country ; or, if I see an uncommon endowment of Heaven, 
if I see extraordinary capacity and virtue in any son of 
the South, and if, moved by local prejudice or gangrened 
by State jealousy, I get up here to abate the tithe of a hair 
from his just character and just fame, may my tongue 
cleave to the roof of my mouth ! 

Sir, let me recur to pleasing recollections ; let me in- 
dulge in refreshing remembrance of the past ; let me re- 
mind you that, in early times, no States cherished greater 
harmony, both of principle and feeling, than Massachu- 
setts and South Carolina. Would to God that harmony 
might again return ! Shoulder to shoulder they went 
through th© Revolution ; hand in hand they stood round 
the administration of Washington, and felt his own great 
arm lean on them for support. Unkind feeling, if it exist. 



206 PRACTICAL ELOCUTION. 

alienation and distrust, are the growth, unnatural to B\i%h 
soils, of false principles since sown. They are weeds, th« 
seeds of which that same great arm never scattered. 

Mr. President, I shall enter on no encomium upon Mas- 
sachusetts ; she needs none. There she is : behold her, 
and judge for yourselves. There is her history; the world 
knows it by heart. The past, at least, is secure. There ia 
Boston, and Concord, and Lexington, and Bunker Hill; 
and there they will remain forever. The bones of her 
sons, falling in the great struggle for Independence, now 
lie mingled with the soil of every State from New England 
to Georgia ; and there they will lie forever. And, sir, 
where American Liberty raised its first voice, and where 
its youth was nurtured and sustained, there it still lives, in 
the strength of its manhood and full of its original spirit. 
If discord and disunion shall wound it ; if party strife and 
blind ambition shall hawk at and tear it ; if folly and 
madness, if uneasiness under salutary and necessary re- 
straint shall succeed in separating it from that Union by 
which alone its existence is made sure ; it will stand in the 
end, by the side of that cradle in which its infancy was 
rocked ; it will stretch forth its arm, with whatever of 
vigor it may still retain, over the friends who gather round 
it ; and it will fall at last, if fall it must, amidst the proud- 
est monuments of its own glory, and on the very spot of iU 
origin. 



OOOD NEWS FEOM GHJEWT TO AIX. 2107 



HOW THEY BROUGHT THE GOOD NEWS FROM 
GHENT TO AIX. 

I SPRANG to the stirrup, and Joris, and he ; 
I galloped, Dirck galloped, we galloped all three ; 
" Grood speed !" cried the watch, as the gate-bolts undrew j 
" Speed !" echoed the wall to us galloping through ; 
Behind shut the postern, the lights sank to rest, 
And into the midnight we galloped abreast. 

Not a word to each other ; we kept the great pace 
Neck by neck, stride by stride, never changing our place ; 
I turned in my saddle and made its girths tight, 
Then shortened each stirrup, and set the pique right, 
Rebuckled the check-strap, chained slacker the bit. 
Nor galloped less steadily Roland a whit. 

Twas moonset at starting ; but while we drew neal 

Lokeren, the cocks crew, and twilight dawned clear; 

At Boom, a great yellow star came out to see ; 

At Diiffeld, 'twas morning as plain as could be ; 

And from Mecheln church -steeple we heard the half-cMma^ 

So Joris broke silence witli, " Yet there ia tim« V* 

At Aerschot, up leaped of a sudden the sun, 
And against him the cattle stood black every one, 
To stare thro' the mist at us galloping past, 
And I saw my stout galloper Roland at laat. 
With resolute shoulders, each butting away 
The haze, aa aom* bluff river headland its «priiy. 

And hia low head and crest, just one sharp ear bent back 
For my yoice, and the other pricked out on his track ; 



208 PRACTICAL ELOCUTION. 

And one eye's black intelligence, — ever that glance 
O'er its white edge at me, his own master, askance ! 
And the thick heavy spume-flakes which aye and anon 
His fierce lips shook upward in galloping on. 

By Hasselt, Dirck groaned; and cried Joris, "Stay spur! 
Your Koos galloped bravely, the fault's not in her ; 
We'll remember at Aix" — for one heard the quick wheeze 
Of her chest, saw the stretched neck, and staggering knees. 
And sunk tail, and horrible heave of the flank, 
As down on her haunches she shuddered and sank. 

So we were left galloping, Joris and I, 

Past liooz and past Tongres, no cloud in the sky ; 

The broad sun above laughed a pitiless laugh, 

'Neath our feet broke the brittle bright stubble like chaff; 

Till over by Dalhem a dome-spire sprang white. 

And " Gallop," gasped Joris, " for Aix is in sight !" 

" How they'll greet us !" — and all in a moment his roan 
Rolled neck and croup over, lay dead as a stone ; 
And there was my Roland to bear the whole weight 
Of the news Avhich alone could save Aix from her fate. 
With his nostrils like pits full of blood to the brim, 
And with circles of red for his eye-sockets' rim. 

Then I cast loose my buff coat, each holster let fall. 
Shook off both my jack-boots, let go belt and all, 
Stood up in the stirrup, leaned, patted his ear. 
Called my Roland his pet-name, my horse without peer ; 
Clapped my hands, laughed and sang, any noise, bad or 

good. 
Till at length into Aix Roland galloped and stood. 



OTHKLLO'S APOLOGir. 203 

And all I remember is, friends flocking round 
As I sate with his head 'twixt my knees on the ground, 
And no voice but was praising this Koland of mine. 
As I poured down his throat our last measure of wine, 
Which (the burgesses voted by common consent) 
Was no more than his due who brought good news froni 
Ghent Robert Browning. 



OTHELLO'S APOLOGY. 



MOST potent, grave, and reverend seigniors : 
My very noble, and approved good master* : 
That I have ta'en away this old man's daughter, 
It is most true ; true, I have married her : 
The very head and front of my offending 
Hath this extent ; no more. 

Rude am I in speech. 
And little blessed with the set phrase of peace : 
For since these arms of mine had seven years' pith. 
Till now some nine moons wasted, they have used 
Their dearest action in the tented field ; 
And little of this great world can I speak. 
More than pertains to feats of broils and battle ; 
And therefore, little shall I grace my cause, 
In speaking of myself. 

Yet, by your patience, 
I will, a round, unvarnished tale deliver, 
Of my whole course of love ; what drugs. What channs« 
What conjuration, and what mighty magic — 
For such proceedings I am charged withal — 
I won his daughter with. 



2ld PRACTICAL ELOCUTIOK. 

Her father loved me; oft invited me ; 
Still questioned me the stoiy of my life, 
From year to year : the battles, sieges, foitunet. 
That I had past. 

I ran it through e'en from my boyish dayi, 
To the very moment that he bade me tell it. 
Wherein I spake of most disastrous chances ; 
Of moving accidents by flood and field ; 
Of hairbreadth 'scapes, in the imminent deadly brwwh j 
Of being taken by the insolent foe. 
And sold to slavery ; of my redemption thence. 
And with it all my travel's history. 

All these to hear, 
Would Desdemona seriously incline ; 
But still the house affairs would draw her thencd. 
Which ever as she could with haste dispatch. 
She'd come again, and with a greedy ear. 
Devour up my discourse. Which, I observing. 
Took once a pliant hour, and found good means 
To draw from her a prayer of earnest heart. 
That I would all my pilgrimage dilate ; 
Whereof by parcels, she had something heard. 
But not distinctly. 

I did consent ; 
And often did beguile her of her tears, 
When I did speak of some distressful stroke, 
That my youth suffered. My story being done, 
She gave me for my pains a world of sighs. 
She swore in faith 't was strange, 't was passing strangt | 
'T was pitiful ; 't was wondrous pitiful ; 
She wished she had not heard it ; yet she wished 
That heaven had made her such a man. 



TAJJh BEFOSE KING AGEIPPA. 211 

She thanked me, 
And bade me, if I had a friend that loved hw*, 
I should but teach him how to tell my atory, 
And that would woo her. On this hint I spake ; 
She loved me for the dangei*s I had passed ; 
And I loved her that she did pity them. 
Thifl i« the only witchcraft which I've used. 

SHAKBiPEARI. 



PAUL BEFORE KING AGRIPPA. 



THEN Agrippa said unto Paul, Thou art pei-mitted to 
speak for thyself. Then Paul stretched forth the hand, 
and answered for himself: 

I think myself happy, king Agrippa, because I shall 
answer for myself this day before thee touching all the 
things whereof I am accused of the Jews ; especially be- 
cause I know thee to be expert in all customs and questions 
which are among the Jews : wherefore I beseech thee to 
hear me patiently. 

My manner of life from my youth, which was at the first 
among mine own nation at JeiTisalem, know all the Jews ; 
which knew me from the beginning, if they would testify, 
that after the most straitest sect of our religion I lived a 
Pharisee. And now I stand and am judged for the hope 
of the promise made of God unto our Others : unto whicl". 
promise our twelve tribes, instantly serving God day and 
night, hope to come. For which hope's sake, king Agrippa, 
I am accused of the Je^vs. 

Why should it be thought a thing incredible with you, 
that Grod should raise the dead ? I verily thought with 
myself, that I ought to do many things conti-arj to the 



S12 FRACTIOAL ELOCunoir. 

name of Jesua of Nazareth. Which thing I also did iB^ 
Jerusalem : and many of the saints did I shut up in prison, 
having received authority from the chief priests ; and when 
they were put to death, I gave my voice against them. 
A.nd I punished them oft in every synagogue, and com- 
pelled them to blaspheme; and being exceedingly mad 
against them, I persecuted them even unto strange cities. 
Whereupon as I went to Damascus with authority and 
commission from the chief priests, at mid-day, O king, I 
saw in the way a light from heaven, above the brightness 
of the sun, shining round about me and them which jour- 
neyed with me. And when we were all fallen to the earth, 
I heard a voice speaking unto me, and saying in the 
Hebrew tongue, Saul, Saul, why persecutest thou me ? it is 
hard for thee to kick against the pricks. 

And I said, Who art thou, Lord ? And He said, I am 
JoBus whom thou persecutest. But rise, and stand upon 
thy feet : for I have appeared unto thee for this purpose, 
to make thee a minister and a witness both of these things 
which thou hast seen, and of those things in the which I 
will appear unto thee ; delivering thee from the people, and 
from the Gentiles, unto whom now I send thee, to open 
their eyes, and to turn them from darkness to light, and 
from the power of Satan unto God, that they may receive 
forgiveness of sins, and inheritance among them which are 
sanctified by faith that is in me. 

Whereupon, O king Agrippa, I was not disobedient unto 
the heavenly vision : but showed first unto them of Damas- 
cus, and at Jerusalem, and throughout all the coasts of Ju- 
dea, and then to the Gentiles, that they should repent and 
turn to God, and do works meet for repentance. For these 
causes the Jews caught me in the temple, and went about 
%(^ kill me. Having therefore obtained help of God, I con- 



WIGHTFALL. 213 

tinue unto this day, witnessing both to small and great, 
saying none other things than those which the prophets and 
Moses did say should come : That Christ should suffer, and 
that He should be the first that should rise from the dead, 
and should show light unto the people, and to the Gentiles. 

And as he thus spake for himself, Festus said with a loud 
voice, Paiii, thou art beside thyself ; much learning doth 
make thee mad. But he said, I am not mad, most noble 
Festus ; but speak forth the words of truth and soberness. 
For the king knoweth of these things, before whom also I 
speak freely : for I am persuaded that none of these things 
are hidden from him ; for this thing was not done in a 
corner. King Agrippa, believest thou the prophets? I 
know that thou believest. Then Agrippa said unto Paul, 
Almost thou persuadest me to be a Christian. , 

And Paul said, I would to God, that not only thou, but 
also all that hear me this day, were both almost, and alto- 
gether such as I am, except these bonds. And when he 
had thus spoken, the king rose up, and the governor, and 
Bernice, and they that sat with them : and when they were 
gone aside, they talked between themselves, saying, This 
man doeth nothing worthy of death or of bonds. Then 
said Agrippa unto Festus, This man might have been set 
at liberty, if he had not appealed unto Caesar. — Bible. 



NIGHTFALL. 



ALONE I stand ; 
On either hand 
In gathering gloom stretch sea and land | 
Beneath my feet, 
"With ceaseless beatj 
The waters murmur low and sweei- 



314 PRACTICAL KLOCUTKMSr. 

Slow falls the night : 

The tender light 
Of stars grovv's brighter and more bright^ 

The lingering ray 

Of dying day 
Sinks deeper down and fades away. 

Now fast, now slow, 
The south winds blow ; 

And softly whisper, breathing low ; 
With gentle grace 
They kiss my face, 

Or fold me in their cool embrac*. 

Where one pale star 

O'er waters far, 
Droops down to touch the harbor bar, 

A faint light gleams, 

A light that seems 
To grow and grow till nature te«mi 

With mellow haze ; 

And to my gaze 
Comet proudly rising, with iti rayt 

No longer dim, 

The moon ; its rim 
In splendor gilds the billowy brim. 

I watch it gain 
The heavenly plain ; 

Behind it trails a stany train — 
While low and sweet 
The wayelets beat 

Their murmuring music at my ^Mt. 



aATILINE's DEFIA3?rGE. 21^ 

Fair night of June ! 

Yon silver moon 
Gleams pal 3 and still. The tender tune, 

Faint-floating, plays, 

In moonlit lays, 
A melody of other days. 

Tis sacred ground ; 

A peace profound 
Oomee o'er my soul. I hear no sound. 

Save at my feet 

The ceaseless beat 
Of waters murmuring low and Bweet. 

W. W. Ellsworth. 



CATILINE'S DEFIANCE. 



CONSCRIPT Fathers : 
I do not rise to waste the night in words ; 
Let that Plebeian talk, 'tis not my trade ; 
But here 1 stand for right — let him show proofs— 
For Roman right, though none, it seems, dare stana 
To take their share with me. Ay, cluster there ! 
Cling to your master, judges, Romans, slaves ! 
His charge is false ; — I dare him to his proofs. 
You have my answer. Let my actions speak ! 

But this I will avow, that I have scorn'd, 
And still do scorn, to hide my sense of wrong- 
Who brands m@ on the forehead, breaks my swordy 
Or lays the bloody scourge upon my back, 
Wrongs me not half so much as ke who shuts 



216 PRACTICAL ELOCUTION. 

The gates of honor on me, — turning out 

The Roman from his birthright ; and for what ? 

To fling your offices to every slave ! 

Vipers, that creep where man disdains to climb, 

And, having wound their loathsome track to the top 

Of this huge, moldering monument of Rome, 

Hang hissing at the nobler man below. [ To the SenctU 

Come, consecrated Lictors, from your thrones ; 
Fling down your sceptres ; take the rod and axe, 
And make the murder as you make the law. 

Banish'd from Rome ! What's banish'd but set fret 
From daily contact of the things I loathe ? 
" Tried and convicted traitor !" Who says this ? 
Who'll prove it, at his peril, on my head ? 
Banish'd ! I thank you for't : it breaks my chain } 
I held some slack allegiance till this hour ; 
But now my sword's my own. Smile on, my Lordi I 
I scorn to count what feelings, withered hopes, 
Strong provocations, bitter, burning wrongs, 
I have within my heart's hot cells shut up, 
To leave you in your lazy dignities. 
But here I stand and scoff* you ! here I fling 
Hatred and full defiance in your face ! 
Your Consul's merciful ; for this all thanks. 
He dares not touch a hair of Catiline ! 

" Traitor !" I go ; but, I return ! Thig— trial I 
Here I devote your Senate ! I've had wrongt 
To stir a fever in the blood of age, 
Or make the infant's sinews strong as steeL 
This day's the birth of sorrow ; this hour'i work 



THE HONOEED DEAD. 217 

Will breed proscriptions ! Look to your heartlis, my 

Lords ! 
For there, henceforth, shall sit, for household gods, 
Shapes hot from Tartarus ; all shames and crimes ; 
Wan Treachery, with his thirsty dagger drawn ; 
Suspicion, poisoning his brother's cup ; 
Naked Rebellion, with the torch and axe. 
Making his wild sport of your blazing throned ; 
Till Anarchy comes down on you like night, 
And Massacre seals Kome's eternal grave. 

I go ; but not to leap the gulf alone. 
I go ; but when I come, 'twill be the burst 
Of ocean in the earthquake — rolling back 
In swift and mountainous ruin. Fare you well ! 
You build my funeral pile ; but your best blood 
Shall quench its flame ! Geoege Croly. 



THE HONORED DEAD. 



HOW bright are the honors w^hich await those who, 
with sacred fortitude and patriotic patience, have 
endured all things that they might save their native land 
from division and from the power of corruption ! The 
honored dead ! They that die for a good cause, are re- 
deemed from death. Their names are gathered and gar- 
nered. Their memory is precious. Each place grows 
proud for them who were bom there. There is to be ere 
long, in every village and in every neighborhood, a glow- 
ing pride in its martyred heroes. 

Tablets shall preserve their names. Pious love shall 
renew their inscriptions as time and the unfeeling elements 
decay them. And the national festivals^ shall give multi- 
10 



218 PEACnCAL ELOCUTIOH. 

tudes of precious uames to the orator's lips. Children 
shall grow up under more sacred inspirations, whose 
elder brothers, dying nobly for their country, left a name 
that honored and inspired all who bore it. Orphan chil- 
dren shall find thousands of fathers and mothers to love 
and help those whom dying heroes left as a legacy to the 
gratitude of the public. 

O, tell me not that they are dead, — that generoug host, 
that airy army of invisible heroes ! They hover &m a cloud 
of witnesses above tliis nation. Ai-e they dead that yet 
speak louder than we can speak, and in a more universal 
language ? Are they dead that yet act ? Are they dead 
that yet move upon societ}% and inspire the people with 
nobler motives and more heroic patriotism ? 

Ye that mourn, let gladness mingle with your tears. 
He was your son ; but now he is the nation's. He made 
your household bright ; now his example inspires a 
thousand households. Dear to his brothers and sisters, he 
is now brother to every generous youth in the lajid. 

Before, he was narrowed, appropriated, shut up to you. 
Now he is augmented, set free, and given to all. He has 
died from the family that he might live to the nation. 
Not one name shall be forgotten or neglected : and it shall 
by and by be confessed, as of an ancient hero, that he did 
more for his country by his death than by his whole life. 

Every mountain and hill shall have its treasured name ; 
every river shall keep some solemn title ; every valley and 
*very lake shall cherish its honored register ; and till the 
mountains are worn out, and the rivers forget to flow, till the 
clouds are weary of replenishing springs, and the springs 
forget to gush, and the rills to eing, shall their names be 
kept fresh with reverent honors which are inscribed upon ih% 
book of National Bemembrance ! H. W. Beecher. 



THJC TOICE I» THi TWIMftHT. 21S 

THE VOICE IN THE TWILIGHT. 



I WAS sitting alone toward the twiliglit, 
With spirit troubled and vexed, 
With thoughts that were morbid and gloomy, 
And faith that was sadly perplexed. 

Some homely work I was doing 
For the child of my love and care, 

Some stitches half wearily setting 
In the endless need of repair. 

But my thoughts were about the " building," 
The work some day to be tried ; 

And that only the gold and the silver, 
And the precious stones should abide. 

And remembering my own poor effort*, 
The wretched work I had done, 

And, even when trying most truly. 
The meagre success I had won ! 

'* It is nothing but wood, hay, and stubble," 
I said : " It will all be burned — 
Til is useless fruit of the talent* 
Oii« day to be returned. 

" And I have go longed to serve Him, 
And sometimes I know I have tried ; 
But I am sure when He sees such building, 
lie will never let it abide," 



220 PRACTICAL ELOCUTION. 

Just then, as I turned the garment, 
That no rent should be left behind, 

My eyes caught an odd little bungle 
Of mending and patchwork combined. 

My heart grew suddenly tender, 
And something blinded my eyes 

With one of those sweet intuitions 
That sometimes makes us so wise. 

Dear child, she wanted to help me ; 

I knew 't was the best she could do ; 
But oh, what a botch she had made it — 

The gray mismatching the blue ! 

And yet — can you understand it ? — 
With a tender smile and a tear, 

And a half-compassionate yearning, 
I felt her grown more dear. 

Then a sweet voice broke the silence. 
And the dear Lord said to me, 
* Art thou tenderer for the little child 
Than I am tender for thee ?" 

Then straightway I knew His meaning, 
So full of compassion and love. 

And my faith came back to its Refuge, 
Like the glad returning dove. 

For I thought when the Master Builder 
Comes dov>^n His temple to view, 

To see what rente must be mended, 
Aijd what must be builded anew; 



THE VOICE IN THE TWILIGHT. 221 

Perhaps, as He looks o'er the building, 
He will bring my work to the light, 

And seeing the marring and bungling, 
And how far it all is from right — 

He will feel as I felt for my darling, 
And will say as I said for her, 
** Dear child, she wanted to help me. 
And love for me was the spur, 

' And for the real love that is in it, 

The work shall seem perfect as mine; 
And because it was willing service, 
I will crown it with plaudit divine." 

And there in the deepening twilight 

I seemed to be clasping a Hand, 
And to feel a great love constraining me. 

Stronger than any command. 

Then I knew by the thrill of sweetness 
'Twas the hand of the Blessed One, 

Which would tenderly guide and hold me, 
Till all the labor is done. 

So my thoughts are nevermore gloomy, 

My faith no longer is dim ; 
Bat my heart is strong and restful, 

Ajad my «y<ss are unto Him. 

Mbs. Hebrick JofiampK; 



P&AOTICAL BLOOUXiOii; 



THE BOYS. 



This selection Is a poem addressed to the class of 1829, in Harvard Colleg«, 
some thirty years after their graduation. The author, who retains, in a high 
degree, the freshness amd joyousnesB of youth, addresses his classmates aa 
" boys." 

HAS there any old fellow got mixed with the boys ? 
If there has, take him out, without making a noise. 
Hang the almanac's cheat and the catalogue's spite 
Old Time is a liar ! we're twenty to-night ! 

We're twenty ! We're twenty ! Who says we are more ? 
He's tipsy, — young jackanapes ! — show him the door ! 
" Gray temples at twenty ?" — Yes ! white if we pleaae ; 
Where the snow-flakes fall thickest there's nothing caa 
freeze ! 

Waa it snowing I spoke of? Excuse the miitak© ! 
Look close, — you will see not a sign of a flake ! 
We want some new garlands for those we have ihod. 
And these are white roses in place of the red. 

We've a trick, we young fellows, you may have been told, 
Of talking (in public) as if we were old ; 
That boy we call " Doctor," and this we call " Judge ;" 
It's a neat little fiction — of course it's all fudge. 

That fellow's the " Speaker," the one on the right ; 
" Mr. Mayor," my young one, how are you to-night ? 
That's our " Member of Congre«3," we say when we chaff; 
There's th« " Reverend " — what's his name ? — don't maka 
m© laugh. 

That boy with tii® grave mathsmadGal look 
Made believe he had written a wonderful book. 



MASTERS OF THE SITUATION. £lf 

And the Royal Society thought it was true ! 

So they chose him right in, — a good joke it was too ! 

There's a boy we pretend, with a three-decker brain, 
That could harness a team with a logical chain ; 
When he spoke for our manhood in syllabled fire. 
We called him " The Justice," but now he's the " Squire.** 

And there's a nice youngster of excellent pith ; 
Fate tried to conceal him by naming him Smith ; 
But he shouted a song for the brave and the free, — 
Just read on his medal, " My country," " of thee !" 

You hear that boy laughing ? You think he's all fun ; 
But the angels laugh, too, at the good he has done ; 
The children laugh loud as they troop to his call. 
And the poor man that knows him laughs loudest of all ? 

Yes, we're boys, — always playing with tongue or with pea ^ 
And I sometimes have asked. Shall we ever be men ? 
Shall we always be youthful, and laughing, and gay. 
Till the last dear companion drops smiling away ? 

Then here's to our boyhood, its gold and its gray ! 
The stars of its winter, the dews of its May ! 
And when we have done with our life-lasting toys, 
Dear Father, take care of Thy children. The Boys I 

O. W. HOLMMU 



MASTERS OF THE SITUATION. 



A GREAT mastery— like that of Wellington or Bia- 
marck — is not so common in the world as to excite 
no surprise. True mastery is compact of supreme quali- 
tiei. It is heroism ; it is culture ; it is withusiasm ; it is 



9ti FRACTICAli ELOCUTIOW. 

faith : it is intelligence ; it is endurance ; it is unconqueiv 
able wilL There are men of conviction whose very face* 
will light up an era. And there are noble women in whose 
ayes you may almost read the whole plan of salvation. 

Insight, foresight, and knowledge are what the world 
demands of a great leader — men who have power to trans- 
mute calamity into greatness. To a real command-er 
nothing exists which cannot be overcome. " Sir," said 
Mirabeau's secretary, "what you require is impossible." 
*' Impossible !" cried Mirabeau, " never name to me again 
that blockhead of a word." 

If any man was ever master of the situation, from his 
boundless knowledge, abundant language, instantaneous 
apprehension, and undaunted speech, it was Edmund 
Burke. The vastness of his attainments and the im- 
mensity of his varied powers startled his great contempo- 
raries into admiration. Goldsmith, Windham, Pitt, and 
others have left on record eloquent testimony to the superi- 
ority of Burke's genius, and the striking fact that he was 
the best informed man of his time. Did this great states- 
man lounge carelessly into all this reputation ? Did he 
rely solely upon his genius to bring him into parliament, to 
continue that long and brilliant career which is part of 
English history ? Never for a moment did he trust to his 
genius. See him at the top of his high fame, elaborating 
every speech, every sentence he wrote, with the most stu- 
dious care — studious and exhaustive care. 

All great leaders have been inspired with a great belief. 
In mne cases out of ten failure is bom of unfaith. There 
is a faith so expansive and a hope so elastic that a man 
having them will keep on believing and hoping till all 
danger is past and \'ictory is sure. Such a man was Cynia 
Field, who spent so many years of his life in perfecting a 



MASTERS OF THE SITUATION. 225 

eommunication second only in importance to the discovery 
of this country. It was a long, hard struggle. Thirteen 
years of anxious watching and ceaseless toil were his. 
Think what that enthusiast accomplished by his untiring 
energy. He made fifty voyages across the Atlantic. And 
when everything looked darkest for his enterprise, his 
courage never flagged for an instant. Think of him in 
those gloomy periods pacing the decks of ships on dark, 
stormy nights, in mid-ocean, or wandering in the desolate 
forests of Newfoundland in pelting rains, comfortless and 
forlorn. Public excitement had grown wild over the mys- 
sterious workings of those flashing wires. And when the 
first cable ceased to throb, the reaction was intense. Stock- 
holders and the public grew exasperated and suspicious ; 
unbelievers sneered at the whole project and called the tel- 
egraph a stupendous hoax. At last day dawned again, 
and another cable was paid out. Twelve hundred miles of 
it were laid down, and the ship was just lifting her head to 
a stiff* breeze, when, without a moment's warning, the cable 
suddenly snapped short off" and plunged into the sea. 
Field returned to England defeated. But his energy was 
even greater than before. In five months, by the blessing 
of Heaven, another cable was stretched from continent to 
continent. 

Then came that never-to-be-forgotten search in four 
ships for the lost cable. In the bow of one of these ships 
stood Cyrus Field day and night, in storm and fog, in 
squall and calm, intently watching the quiver of the grap- 
nel that was dragging two miles down on the bottom 
of the deep. The spirit of this brave man was rewarded. 
All felt as if life and death hung on the issue. It was 
oxAj when the cable was brought over the bow and on the 
fbck that men dared to breathe. Even then they hardly 



9t6 PEAOTIOAL BLOO¥TIOK. 

believed their ©y«i. Some crept toward it to see, feel of H, 
to be sure it waua there. Then they carried it along to the 
electrician'a room, to see if the long-eought treasure was 
alivt or dead. A few minutes of suspense, and a flash told 
of the lightning current again set free. Some turned away 
and wept, others broke into cheers, and the cry ran from 
ship to ship, while rockets lighted up the darkneaa of the 
sea. 

With thankful hearts they turned their faces again to 
the west ; but soon the wind rose, and for thirty-six hours 
^hey were exposed to all the dangers of a storm on the 
Atlantic. Yet in the very height and fury of the gale a 
flaah of light, which having crossed to Ireland returned to 
them in mid-ocean, telling them that the friends whom 
they had left behind on the banks of the Hudson were 
well, and following them with their wishes and their 
prayers. This was like the whisper of God from the sea, 
bidding them keep heart and hope. 

And now after all those thirteen years of almost super- 
human struggle, and that one moment of almost superhu- 
man victory, we may safely include Cyrus W. Field among 
the masters of the situation. James T. Field. 



KENTUCKY BELLE. 



SUMMER of 'sixty-three, sir, and Conrad wa* gone 
away-— 
Grone to the county-town, sir, to eeU our first load of 

hay — 
We lived in the log-house yonder, poor as ever youVe 

seen ; 
EdscheR there was a baby, and I was only nineteen. 



KENTUCKY BKLLE. tSl 

Conrad, he took the oxen, but he left Kentucky Belle ; 
How much we thought of Kentuck, I couldn't begin to 

tell— 
Came from the Blue-Grass country ; my &ther gave her to 

me 
When I rode North with Conrad, away from the Tennessee. 

Conrad lived in Ohio — a German he is, you know — 
The house stood in broad corn-fields, stretching on, row 

after row : 
The old folks made me welcome ; they were kind as kind 

could be ; 
But I kept longing, longing, for the hills of the Tennessee, 

O, for a sight of water, the shadowed slope of a hill ! 
Clouds that hang on the summit, a wind that never is still I 
But the level land went stretching away to meet the sky— 
Kever a rise, from north to south, to rest the weary eye 1 

From east to west, no river to shine out under the moon, 
Nothing to make a shadow in the yellow afternoon ; 
Only the breathless sunshine, as I looked out, all forlorn ; 
Only the " rustle, rustle," as I walked among the corn. 

When I fell sick with pining, we didn't wait any more, 
But moved away from the corn-lands out to this rivei 

shore — 
The Tuscarawas it's called, sir — off there's a hill, you see — ' 
And now I've grown to like it next best to the Tennessee. 

I was at work that morning. Some one came riding Kke mad 
Over the bridge and up the road — Farmer Rouf 's little lad; 
Bareback he rode ; he had no hat; he hardly stopped to say^ 
"Morgan^s men are coming, Frau ; they're galloping oi> 
this way. 



238 wacaicAL ELootriioK. 

*I'm Bent to warn the neighbors. He isn't a mild t)d 

hind; 
He sweeps up all the horses — every horse that he can find 
Morgan, Morgan the raider, and Morgan's terrible men, 
With bowie-knives and pistols, are galloping up the glen." 

rhe lad rode down the valley, and I stood still at the door ; 
The baby laughed and prattled, playing with spools on the 

floor; 
Kentuck was out in the pasture ; Conrad, my man, WM 

gone: 
Near, nearer Morgan's men were galloping, galloping on I 

Sudden I picked up baby, and ran to the pasture-bar: 

" Kentuck I" I called ; " Kentucky !" She knew me everao 

far I 
[ led h-er down the gully that turns off there to the right, 
And tied her to the bushes ; her head was just out of sight. 

As I ran back to the log-house, at once there came a 

sound — 
The ring of hoofs, galloping hoofe, trembling over the 

ground — 
Doming into the turnpike out from the White- Woman 

Glen- 
Morgan, Morgan the raider, and Morgan's terrible men. 

As near they drew and nearer, my heart beat fast i» 

alarm; 
But Btill I stood in the doorway, with baby on my arm. 
They came; they passed; with spur and whip in hastt 

they sped along — 
I'lorgan, Morgan the raider, and his band six hundred 

strong. 



EEN'TUCKY BELLR 22S 

Weary they looked and jaded, riding througli night and 

througli day ; 
Pushing on East to the river, many long miles away, 
To the border-strip where Virginia runs up into the West, 
And ford the Upper Ohio before they could stop to rest. 

On like the wind they hurried, and Morgan rode in 

advance : 
Bright were his eves like live coals, as he gave me a 

sideways glance ; 
And I was just breathing freely, after my choking pain, 
When the last one of the troopers suddenly drew his rein. 

Frightened I was to death, sir ; I scarce dared look in his 

face. 
As he asked for a drink of watei, and glanced around the 

place : 
I gave him a cup, and he smiled — 'twas only a boy, you 

see; 
Faint and worn, with dim blue eyes ; and he'd sailed on 

the Tennessee. 

Only sixteen he was, sir — a fond leother's only son — 
Off and away with Morgan before his life had begun ! 
The damp drops stood on his temples; drawn waa the 

boyish mouth ; 
And I thought me of the mother waiting down in the 

South! 

O, pluck was he to the backbone, and clear grit through 

and through ; 
Boasted and bragged like a trooper; but the big wordi 

wouldn't do ; 
The boy was dying, sir, dying, as plain as plain could be, 
Worn out by his ride with Morgan up from the Tenneesoe. 



230 PRACTICAL ELOCUnOH. 

But, when I told the laddie that I too was from the South, 
Water came in his dim eyes, and quivers around his mouth: 
•* Do you know the Blue-Grass country ?" he wistful began 

to say ; 
Then swayed like a willow sapling, and fainted dead away. 

I had him into the log-house, and worked and brought him 

to; 
I fed him, and coaxed him, as I thought his raother'd do ; 
And, when the lad got better, and the noise in his head waa 

gone, 
Morgan's men were miles away, galloping, galloping on. 

" O, I must go," he muttered ; " I must be up and away I 
Morgan, Morgan is waiting for me ! O, what will Morgan 

say r 
But I heard a sound of tramping, and kept him back from 

the door — 
The ringing sound of horses' hoofs that I had heard before. 

And on, on came the soldiers — the Michigan cavalry — 
And fast they rode, and black they looked, galloping 

rapidly : 
They had followed hard on Morgan's track; they had 

followed day and night ; 
But of Morgan and Morgan's raiders they had never 

caught a sight. 

And rich Ohio sat startled through all those summer dayg ; 

For strange, wild men were galloping over her broad high- 
ways ; 

Now here, now there, now seen, now gone, now north, now 
east, now west, 

through river-valleys and corn-land farms, gweeping away 
ber best. 



KENTUCKT BELLIL 281 

4 bold ride and a long ride ! But they were taken at last j 
They almost reached the river by galloping hard and fast \ 
But the boys in blue were upon them ere ever they gained 

the ford, 
And Morgan, Morgan ths raider, laid down his terrible 

sword. 

Wall, I kept the boy till evening — ^kept him against his 

wdll— 
But he was too weak to follow, and sat there pale and still: 
When it was cool and dusky — you'll wonder to hear me 

teU-^ 
But I stole down to that guily, and brought up Kentucky 

Belle. 

I kissed the star on her forehead — my pretty, gentle lass- 
But I knew that she'd be happy back in the old Blue- 
Grass : 
A. suit of clothes of Coni-ad's, with all the money I had, 
And Kentuck, pretty Kentuck, I gave to the worn-out lad 

I guided him to the southward as well as I knew how : 
The boy rode off with many thanks, and many a backward 

bow ; 
And then the glow it faded, and my heart began to swell, 
As down the glen away she went, my lost Kentucky Belle ' 

When Conrad came in the evening, the moon was shining 

high , 
Baby and I were both crying — I couldn't tell him why — 
But a battered suit of rebel gray was hanging on the wall, 
And a thin old horse with drooping head stood in ILqw 

tuckj's stall. 



232 PRACTICAL ELOCUTION. 

Well, he was kind, and never once said a hard word to me , 

He knew I couldn't help it — 'twas all for the Tenneesee : 
But, after the war was over, just think what came to pass— 
A letter, sir ; and the two were safe back in the old Blue 
Grass. 

The lad had got across the border, riding Kentucky Belle j 
And Kentuck she was thriving, and fat, and hearty, and 

well; 
He cared for her, and kept her, nor touched her with whip 

or spur : 
^h 1 we've had many horses, but never a horse like her t 
Constance Fenimore Woolson, 



TRUST. 



I KNOW not, if dark or bright 
Shall be my lot ; 
If that wherein my hopes delight 
Be best or not. 

It may be mine to drag for yeaiB 

Toil's heavy chain, 
Or day or night my meat be tears. 

On bed of pain. 

Dear faces may surround my hearth 

With smiles and glee, 
Oi- 1 may dwell alone, and miith 

Be strange to me. 

My bark is wafted firom the itrand 

Bf breath Divine, 
And on the helm there rests a hand 

Other than mine. 



[ 



THE LOSS OF THE ABOTia 

One who has known in storms to sail 

I have on board ; 
Above the raging of the gale 

I have my Lord. 

He holds me when the billows smite— 

I shall not fall ; 
If sharp, 'tis short— if long, 'tis light—* 

He tempers all. 

Safe to the land ! Safe to the land I 

The end is this — 
And then with Him go hand in hand 

Far into bliss. 

Dean Alpobd. 



THE LOSS OP THE ARCTIC. 



IT was autumn. Hundreds had wended their way from 
pilgrimages ; — ^from Rome and its treasures of dead 
art, and its glory of living nature ; from the side of the 
Switzer's mountains, and from the capitals of various 
nations — all of them saying in their hearts, we will wait 
for the September gales to have done with their equinoctial 
fury, and then we will embark ; we will slide across the 
appeased ocean, and in the gorgeous month of October we 
will greet our longed-for native land, and our heart-loved 
homes. 

And so the throng streamed along from Berlin, from Paris, 
from the Orient, converging upon London, still hastening 
toward the welcome ship, and narrowing every day the circle 
of engagements and preparations. They crowded aboard. 



234 PRACTICAL ELOCUTION. 

Never had tlie Arctic borne such a host of passengers, noi 
passengers so nearly related to so many of us. The houi 
was come. The signal-ball fell at Greenwich. It was 
noon also at Liverpool. The anchors were weighed ; the 
great hull swayed to the current ; the national colors 
streamed above, as if themselves instinct with life and 
national sympathy. The bell strikes ; the wheels revolve ; 
the signal-gim beats its echoes in upon every structure along 
the shore, and the Arctic glides joyfully forth from the 
Mersey, and turns her prow to the winding channel, and 
begins her homeward run. The pilot stood at the wheel, 
and men saw him. Death sat upon the prow, and no eye 
beheld him. Whoever stood at the wheel in all the voyage, 
Death was the pilot that steered the craft, and none knew 
it. He neither revealed his presence, nor whispered his 
errand. 

And so hope was effulgent, and lithe gayety disported 
itself, and joy was with every guest. Amid all the incon- 
veniences of the voyage, there was still that which hushed 
every murmur, — "Home is not fiir away." And every 
morning it was still one night nearer home! Eight 
days had passed. They beheld that distant bank of mist 
that forever haunts the vast shallows of Newfoundland. 
Boldly they made it ; and plunging in, its pliant WTeaths 
wrapped them about. They shall never emerge. The last 
sunlight has flashed from that deck. The last voyage is 
done to ship and passengers. At noon there came noise- 
lessly stealing from the north that fated instrument of de- 
struction. In that mysterious shroud, that vast atmos- 
phere of mist, both steamers were holding their way with 
rashing prow and roaring wheels, but invisible. 

At a league's distance, unconscious; and at nearef 
approach, unwarned ; within hail, and bearing right toward 



THE LOSS OF THE ARCTIC. 2Sd 

eacK other, unseen, unfelt, till in a moment more, emerging 
from the gray mists, the ill-omened Vesta dealt her deadh 
sicroke to the Arctic. The death-blow was scarcely fek 
along the mighty hull. She neither reeled nor shivered. 
Neither commander nor officers deemed that they had 
suffered harm. Prompt upon humanity, the brave Luce 
(let hi* name be ever spoken with admiration and respect) 
ordered away his boat with the first officer to inquire if 
the stranger had suffered harm. As Gourley went over 
the ship's side, oh, that some good angel had called to the 
brave commander in the words of Paul on a like occasion, 
" Except these abide in the ship, ye cannot be saved." 

They departed, and with them the hope of the ship, for 
now the waters gaining upon the hold, and rising upon the 
fires, revealed the mortal blow. Oh, had now that stern, 
brave mate, Gourley, been on deck, whom the sailors were 
wont to mind, — had he stood to execute efficientl}^ the com- 
mander's will, — we may believe that we should not have 
had to blush for the cowardice and recreancy of the crew, 
nor weep for the untimely dead. But, apparently, each 
subordinate officer lost all presence of mind, then courage, 
and so honor. In a wild scramble, that ignoble mob of 
firemen, engineers, waitei-s, and crew, rushed for the boats, 
and abandoned the helpless women, children, and men to 
the mercy of the deep I Four hours there were from the 
catastrophe of collision to the catastrophe of sinking ! 

Oh, what a burial was here ! Not as when one is 
borne from his home, among weeping throngs, snd gently 
carried to the green fields, and laid peacefully beneath the 
turf and flowers. No priest stood to pronounce a burial- 
service. It was an ocean-grave. The mists alone shrouded 
the burial-place. No spade prepared the grave, no sexton 
filled up the hollowed earth. Down, down they sank, an^ 



^JC PRACTICAL ELOCUTICnr. 

the quick returning waters smoothed out every ripply 
and lefk the sea as if it had not been. 

H. W. Beeches. 



THE CATARACT OF LODORE * 



HERE it comes sparkling, 
And there it lies darkling ; 

Here smoking and frotliiiig, 

Its tumult and wrath in, 
It hastens along, conflicting, and strong, 

Now striking and raging. 

As if a war waging, 
Its caverns and rocks among. 

Rising and leaping, 

Sinking and creeping. 

Swelling and flinging, 

Showering and springing, 

Eddying and whisking, 

Spouting and frisking. 

Twining and twisting 
Around and around, — 

Collecting, disjecting, 
With endless rebound ; 

Smiting and fighting, 

A sight to delight in. 

Confounding, astounding, 
Dizzying and deafening the ear with its sound. 

Receding and speeding, 

* A celebrated fall on Derwent- Water, in Cumberland, England 



THE CATARACT OF LODOBB. ^t 

And shocking and rocking, 
And whizzing and hissing, 
And dripping and slapping, 
And whitening and brightening^ 
And quivering and shivering. 
And shining and twining, 
And rattling and battling, 
And shaking and quaking, 
And pouring and roaring. 
And waving and raving, 
And tossing and crossing, 
And flowing and growing. 
And hurrying and skurrying, 
And dinning and spinning, 
And foaming and roaming, 
And dropping and hopping, 
And heaving and cleaving. 

And driving and riving and striving. 

And sprinkling and twinkling and wrinkling, 

And sounding and bounding and rounding, 

And bubbling and troubling and doubling, 

Dividing and gliding and sliding, 

And grumbling and rumbling and tumbling. 

And gleaming and streaming and steaming and beaming. 

And rushing and flushing and brushing and gushing, 

A-nd flapping and rapping and clapping and slapping. 

And curling and whirling and purling and twirling, 

Retreating and beating and meeting and sheeting, 

Delaying and straying and playing and spraying. 

Advancing and prancing and glancing and dancing. 

Recoiling, turmoiling, and toiling and boiling, 

And dashing and flashing and splashing and clashing; 



58S8 PRACTICAL ELOCUTION. 

And m never ending, but always descending, 
Sounds and motions forever and ever are blendmjf. 
All at f^nce and all o'er, -with a mighty uproar ; — 
And this way the water comes do^vn at Lodore. 

Robert Southet. 



YOUR MISSION. 



IF you cannot on the ocean 
Sail among the swiftest fleet, 
Rocking on the highest billows, 

Laughing at tlie storms you me;.?t, 
You can stand among the sailors, 

Anchored yet within the bay, 
You can lend a hand to help them, 
As they launch their boats away. 

If you are too weak to journey, 

Up the mountain, steep and high. 
You can stand witliin the valley, 

While the multUudes go by. 
You can chant in happy measure, 

As they slovvly pass along ; 
Though they may forget the singor 

I'hey mil not forget the song. 

If you have not gold and silver 

Ever ready to command, 
If you cannot toward the needy 

Reach an ever open hand. 
You can visit the afflicted, 

O'er the erring you can we6|% 
You can be a true disciple, 

Sitting at the Saviour's feet 



OUE DUTIES TO OUPw COr^'TRY. 230 

If you cannot in the conflict 

Prove youi-self a soldier true, ' 

If where the fire and smoke are thickest. 

There's no work for you to do, 
When the battle-field is silent, 

You can go with careful tread. 
You can bear away the wounded, 

You can cover up the dead. 

Do not then stand idly waiting 

For some greater work to do. 
Fortune is a lazy goddess. 

She will never come to you. 
Gro and toil in any vineyard. 

Do not fear to do or dare. 
If you w^ant a field of labor. 

You can find it anywhere. 



OUR DUTIES TO OUK COUNTEY. 



THIS lovely land, this glorious liberty, these benign in 
stitutions, the dear purchase of our fathers, are ours ; 
ours to enjoy, ours to preserve. oui*s to transmit. Genera- 
tions past, and generations to come, hold us responsible for 
this sacred trust. Our fathers, from behind, admonish us, 
with their anxious paterDal voices ; posterity calls out to 
us, from the bosom of the future ; the world turns hither 
lis solicitous eyes — all, all conjure us to act wisely, and 
faithfully^ in the relations which we sustain. 

We can never, indeed, pay the debt which is upon us, 
but by virtue, by morality, by religion, by the cultivation 
of every good principle and every good habit, we may 
hope to enjoy the blessing through our day, and to leave it 



84P PRACTICAL ELOCUTION. 

tmimpaired to our children. Let us feel deeply how mucl? 
of what we are, and what we possess, we owe to this 
liberty, and these institutions of government. 

Nature has, indeed, given us a soil which yields boun- 
teously to the hands of industry ; the mighty and fruitful 
ocean is before us, and the skies over our heads shed health 
and vigor. But what are lands, and seas, and skies, to 
civilized man, without society, without knowledge, without 
morals, without religious culture ? And how can these be 
enjoyed, in all their extent, and all their excellence, but 
under the protection of wise institutions and a free govern- 
ment ? 

Fellow-eitizens, there is not one of us here present who 
does not, at this moment, and at every moment, experience 
in his own condition, and in the condition of those most 
near and dear to him, the influence and the benefits of this 
liberty and these institutions. Let us then acknowledge 
the blessing ; let us feel it deeply and powerfully ; let us 
cherish a strong aff'ection for it, and resolve to maintain 
and perpetuate it. The blood of our fathers, let it not 
have been shed in vain ; the great hope of posterity, let 
it not be blasted. Webster. 



I 



MARMION AND DOUGLAS. 



rr\HE train from out the castle drew, 
X But Marmion stopp'd to bid adieu : 

" Though something I might plain," he laic^ 
" Of cold respect to stranger guest, 
Sent hither by your king's behest, 

While in Tantallon's towers I stay'd. 
Part we iu friendship from your land^ 
And, noble Earl, receive my hand." 



MABMIOK A^^D DOUGLAS. 241 

But Douglas round him drew his cloak, 

Folded his arms, and thus he spoke : 

" My manors, halls, and bowers shall still 

Be open, at my sovereign's will, 

To each one whom he lists, how'er 

Unmeet to be the owner's peer. 

My castles are my king's alone, 

From turret to foundation-stone ; 

The hand of Douglas is his own, 

And never shall in friendly grasp 

The hand of such as Marmion clasp." 

Bum'd Marmion's swarthy cheek like fire. 
And shook his very frame for ire, 

And, " This to me !" he said ; 
" An 'twere not for thy hoary beard, 
Such hand as Marmion's had not spared 

To cleave the Douglas' head ! 
And, first, I tell thee, haughty Peer, 
He who does England's message here, 
Although the meanest in her State, 
May well, proud Angus, be thy mate : 
And, Douglas, more I tell thee here. 

Even in thy pitch of pride, 
Here in thy hold, thy vassals near 
(Nay, never look upon your lord. 
And lay your hands upon your sword;) 

I tell thee, thou'rt defied ! 
And, if thou said'st I am not peer 
To any lord in Scotland here, 
Lowland or Highland, far or near. 

Lord Angus, thou hast lied !" 

On the Earl's cheek the flush of rage 
Q'ercame tiie a^li«a hue of age i 



M^ PRACTICAL Ei.ocuTroir. 

Fierce he broke forth, " And durest thou than 
To beard the lion iu his den, 

The Douglas in his hall ? 
And hopest thou hence unscathed to go ? 
No, by Saint Bride of Bothwell, no ! 
Up drawbridge, grooms, — what, Warder, ho 1 

Let the portcullis fall." 
Lord Marinion tum'd, — well was his need !— 
And dash'd the rowels in his steed. 
Like arrow through the archway sprung ; 
The ponderous gate behind him rung : 
To pass there was such scanty room, 
The bai-s, descending, razed his plume. 

The steed along the drawbridge flies, 
Just as it trembled on the rise ; 
Not lighter does the swallow skim 
Along the smooth lake's level brim ; 
And, when Lord Marmiou reached his band, 
He halts, and turns with clenched hand, 
And shout of loud defiance pours. 
And shook his gauntlet at the towers. 

Sir Walteb SootTc 



PICTURES OF MEMORY. 



AiSIONG the beautiful pictures 
That hang on Memory's wall, 
Is one of a dim old forest, 

That seemeth best of all. 
Not for its gnarl'd oaks olden, 

Dark with the mistletoe ; 
Not. for the violets golden 

That sprinkle the vale below j 



PICTUBES OF MEMORY. 24S 

Not for the milk-white lilieis 

That lean from the fragrant ledge, 
CJoquetting all day with the sunbeams. 

And stealing their golden edge ; 
Not for the vines on the upland 

Where the bright red berries rest, 
Nor the piuks, nor he pale, sweet cowslipj 

It seemeth to me the best. 

I once had a little brother 

With eyes that were dark and deep ; 
In the lap of that dim old forest, 

He lieth in peace asleep. 
Light as the down of the thistle, 

Free as the winds that blow, 
We roved there, the beautiftil summens, 

The summers of long ago ; 
But his feet on the hills grew weary. 

And, one of the autumn eves, 
I made for my little brother 

A bed of the yellow leaves. 

Sweetly his pale arms folded 

My neck in a meek embrace. 
As the light of immortal beauty 

Silently cover' d his face ; 
And when the arrows of sunset 

Lodged in the tree-tops brigiit. 
He fell, in his saint-like beauty, 

Asleep by the gates of light. 

Therefore, of all the pictures 

That hang on Memory's wall, 
The one of the dim old forest 

Seemeth the best of till Alice V*Aet. 



344 PBAOTICAL ELOGUTIOK. 

CASSIUS AGAINST CJESAR. 



HONOR is the subject of my story, 
I cannot tell what you and other men 
Think of this life ; but for my single self, 
I had as lief not be, as live to be 
In awe of such a thing as I myself. 
I was born free as Caesar ; so were you ; 
We both have fed as weU ; and we can both 
Endure the winter's cold as weU as he. 

For once, upon a raw and gusty day, 

The troubled Tiber, chafing with her shores, 

Caesar said to me — " Darest thou, Cassius, now 

Leap in with me, into this angry flood, 

And swim to yonder point ?" Upon the word. 

Accoutered as I was, I plunged in. 

And bade him follow ; so, indeed he did. 

The torrent roared, and we did buffet it ; 

With lusty sinews, throwing it aside. 

And stemming it, with hearts of controversy. 

But ere we could arrive the point proposed, 

Caesar cried — " Help me, Cassius, or I sink." 

I, as ^neas, our great ancestor, 

Did from the flames of Troy, upon his shoulder 

The old Anchises bear, so, from the waves of Tibci 

Did I the tired Csesar ; and this man 

Is now become a god ; and Cassius is 

A wretched creature, and must bend his body 

K Caesar carelessly but nod on him. 

He had a fever when he was in Spain, 
And when the fit was on him, I did mark 



CASSIUS AGAINST C-ESAR. 248 

How he did shake ; 'tis ti'ue, this god did shake ; 

His coward lips did from their color iiy ; 

And that same eye, whose bend doth awe the world, 

Did lose his luster ; I did hear him groan : 

Ay, and that tongue of his, that bade the Romans 

Mark him, and write his speeches in their books, 

" Alas !" it cried — " Give me some drink, Titiniua,** 

As a sick girl. — Ye gods ! it doth amaze me, 

A man of such a feeble temper should 

So get the start of the majestic world. 

And bear the palm alone. 

Why, man, he doth bestride the narrow world. 

Like a Colossus ; and we, petty men. 

Walk under his huge legs, and peep about, 

To find ourselves dishonorable graves. 

Men, at some time, are masters of their fe,tes : 

The fault, dear Brutus, is not in our stars. 

But in ourselves, that we are underlings. 

Brutus and Caesar ! What should be in that Caesar ? 

Why should that name be sounded more than yours t 

Write them together : yours is as fair a name ; 

Sound them : it doth become the mouth as well ; 

Weigh them : it is as heavy : conjure with them : 

Brutus will start a spirit as soon as Csesar. 

Now^ in the name of all the gods at once. 

Upon what meat doth this our Caesar feed, 

Tliat he is grown so great ? Age, thou art shamed : 

Rome, thou hast lost the breed of noble bloods. 

When went there by an age, since the great flood, 

But it was famed with more than one man ? 

When could they say, till now, that talked of Rome, 

^Fhat her wide walks encompassed but one man ? 



246 PJU.CTICAL ELOCUTION. 

Now is it Rome, indeed, and room enough, 

When there is in it but one only man. 

Oh ! you and I have heard our fathers say. 

There was a Brutus once, that would have brooked 

The eternal devil, to keep his state in Rome, 

As easily as a king. Shakespeare* 



TACT AND TALENT. 



rpALENT is something, but tact is everything. Talent 
J is serious, sober, grave, and respectable: tact is all 
that, and more, too. It is not a sixth sense, but it is the 
life of all the five. It is the open eye, the quick ear, the 
judging taste, the keen smell, and the lively touch ; it is 
the interpreter of all riddles, the surmounter of all diffi- 
culties, the remover of all obstacles. It is useful in all 
places, and at all times ; it is useful in solitude, for it 
shows a man his way into the world ; it is useful in society, 
for it shows him his way through the world. 

Talent is power, tact is skill ; talent is weight, tact is 
momentum ; talent knows what to do, tact know^s how to 
do it ; talent makes a man respectable, tact will make him 
respected ; talent is wealth, tact is ready money. For all 
the practical purposes of life, tact carries it against talent, 
ten i-o one. Take them to the theatre, and put them 
against each other on the stage, and talent shall produce 
you a tragedy that will scarcely live long enough to be 
condemned, wliile tact keeps the house in a roar, night 
after night, with its successful farces. There is no want of 
dramatic talent, there is no want of dramatic tact ; but 
they are seldom together : so we have successftil pieoei 



TACT AJfD TALEITT. 247 

whicli are not r^pectable, and rcs]3€ctable pieces which are 

not successfoL 

Take them to the bar, and let them shake their leame<i 
curls at each other in legal rivalry. Talent sees its way 
clearly, but tact is first at its journey's end. Talent has 
many a compliment from the bench, but tact touches fees 
from attorneys and clients. Talent speaks learnedly and 
logically, tact triumphantly. Talent makes the world 
Tvonder that it gets on no faster, tact excites astonishment 
that it gets on so fest. And the secret is, that tact has no 
weight to carry ; it makes no false steps ; it hits the right 
nail on the head ; it loses no time ; it takes all hints, and, 
by keeping its eye on the weathercock, is ready to take 
advantage of every wind that blows. 

Take them into the church. Talent has always some- 
thing worth hearing, tact is sure of abundance of hearers ; 
talent may obt-ain a Living, tact will make one ; talent gets 
a good name, tact a great one ; talent convinces, tact con- 
verts ; talent is an honor to the profession, tact gains honor 
from the profession. Take them to court. Talent feels 
its weight, tact finds its way ; talent commands, tact is 
obeyed ; talent is honored with approbation, and tact 
is blessed by preferment. 

Place them in the senate. Talent has the ear of the 
house, but tact wins its heart, and has its votes ; talent is 
fit for employment, but tact is fitted for it. Tact has a 
knack of sKpping into place with a sweet silence and glib- 
nes3 of movement, as a billiard ball insinuates itself into 
the pocket. It seems to know everything, without learning' 
anything. It has served an invisible and extemporan' 
apprenticeship ; it wants no drilling : it never ranks in 
the awk^rfird squad ; it has no left hand, no deaf ear, no 
blind side. It puts on no looks of wondrous wisdom, it 



248 PRACTICAL ELOCUTION. 

has no air of profundity, but plays with the detail* of 
place as dexterously as a well-taught hand flourishes over 
the keys of the piano-forte. It has all the air of common- 
place, and all the force and power of genius. 

London Atlas. 



GOD'S FIEST TEMPLES. 



THE groves were God's first temples. Ere man learn 'd 
To hew the shaft, and lay the architrave, 
And spread the roof above them, ere he framed 
The lofty vault, to gather and roll back 
The sound of anthems, in the darkling wood, 
Amidst the cool and silence, he knelt down 
And offer'd to the Mightiest solemn thanks 
And supplication. For his simple heart 
Might not resist the sacred influences 
That, from the stilly twilight of the place, 
And from the gray old trunks, that, high in heaven, 
Mingled their mossy boughs, and from the sound 
Of the invisible breath, that sway'd at once 
All their green tops, stole over him, and bow'd 
His spirit with the thought of boundless Power 
And inaccessible Majesty. Ah, Avhy 
Should we, in the world's riper years, neglect 
God's ancient sanctuaries, and adore 
Only among the crowd, and under roofs 
That our frail hands have raised ? Let me, at least. 
Here, in the shadow of the ancient wood, 
Offer one hymn ; thrice happy, if it find 
Acceptance in His ear. 



ood's rmsT temples. 24B 

Father, Thy hand 
Hath reared these venerable columns : Thou 
Didst weave this verdant roof. Thou didst look down 
Upon the naked earth, and forthwith rose 
All these fair ranks of trees. They in Thy sun 
Budded, and shook their green leaves in Thy breeze. 
And shot toward heaven. The century-living crow. 
Whose birth was in their tops, grew old and died 
Among their branches, till at last they stood. 
As now they stand, massy and tall and dark, 
Fit shrine for humble worshiper to hold 
Communion with his Maker. 

Here are seen 
No traces of man's pomp or pride ; no silks 
Eustle, no jewels shine, nor envious eyes 
Encounter ; no fantastic carvings show 
The boast of our vain race to change the form 
Of Thy fair works. But Thou art here ; Thou fill'st 
The solitude. Thou art in the soft winds 
That run along the summits of these trees 
In music ; Thou art in the cooler breath, 
That, from the inmost darkness of the place. 
Comes, scarcely felt ; the barky trunks, the ground, 
The fresh, moist ground, are all instinct with Thee. 

Here is continual worship ; Nature here. 
In the tranquillity that Thou dost love. 
Enjoys Thy presence. Noiselessly around, 
From perch to perch the solitary bird 
Passes ; and yon clear spring, that, 'midst its herbsj 
"Wells softly forth, and visits the strong roots 
Of half the mighty forests, tells no tale 
Of ail the good it does. 
11* 



360 PRACTICAL ELOCUTIOJf. 

Tliou hast not left 
TJiygelf without a witness, in these shades, 
Of Thy perfections. Grandeur, strength, and i:r^c% 
Are here to speak of Thee. This mighty oak, — 
By whose immovable stem I stand, and seem 
Almost annihilated, — not a prince. 
In all the proud old world beyond the deep. 
Ere w^ore his crown as loftily as he 
Wears the green coronal of lea^'es with which 
Thy hand has graced him. Nestled at liis root 
Is beauty, such as blooms not in tlie glare 
Of the broad sun. That delicate forest flower, 
With scented breath, and looks so like a smile, 
Seems, as it issues from the shapeless mould, 
An emanation of th' indwelling life, 
A visible voken of the upholding love. 
That are the soul of this wide Universe. 

My heart is awed within me when I think 
Of the great miracle that still goes on, 
In silence, round me, — the perpetual work 
Of Thy creation, hnish'd, yet renew'd 
Forever. Written on Thy works I read 
The lesson of Thy own eternity. 
Lo ! all grow old and die ; but see, again. 
How, on the faltering footsteps of decay, 
Youth presses — ever gay and beautiful youth-* 
In all its beautiful forms. These loft}- ti-ees 
Wave not less proudly than their ancefltors 
Moulder beneath them. 

O, there is not lost 
One of Earth's charms : upon her bosom ye*. 
After the flight of untold centuriee. 
The freshness of her far beginning lies^ 



THE IfATUKE OF TRUE ELOQUEHOIL 361 

And yet slmll lie. Life mocks the idle iiate 
Of his arch enemy Death ; yea, seats himself 
Upon the sepulchre, and blooms and smiles. 
And of the triumphs of his ghastly foe 
Makes his own nourishment. For he came forth 
From Thine own bosom, and shall have no end. 

O God, when Thou 
Dost scare the w^orld with tempests, set on fire 
The heavens with falling thunderbolts, or fill, 
"With all the waters of the firmament. 
The swift, dark whirlwind, that uproots the woods 
And drowns the villages ; when, at Thy call, 
Uprises the great deep, and throws himself 
Upon the continent, and overwhelms 
Its cities ; who forgets not, at the sight 
Of these tremendous tokens of Thy power. 
His pride, and lays his strifes and follies by ! 
O, from these sterner aspects of Thy face 
Spare me and mine ; nor let us need the wrath 
Of the mad, unchain'd elements, to teach 
Who rules them. Be it ours to meditate. 
In these calm shades, Thy milder majesty, 
And to the beautiful order of Thy works 
Learn to conform the order of our lives. 

W. C. Bryant. 



THE NATURE OF TRUE ELOQUENCE. 

TRUE eloquence does not consist in speech. It cannot 
be brought from far. Labor and learning may toil for 
it, but they will toil in vain. Words and phrases may be 
marshaled in every way, but they cannot compass it. It 
must exist in the man, in the subject, and in the occa«ion. 



252 PRACTICAL ELOCUTION. 

Affected passion, intense expression, the pomp of declama' 
tion, all may aspire after it, — they cannot reach it. It 
comes, if it comes at all, like the outbreaking of a foun- 
tain from the earth, or the bursting forth of volcanic fires, 
^vith spontaneous, original, native force. The graces taught 
in the schools, the costly ornaments, and studied contriv- 
ances of speech, shock and disgust men, when their own 
lives, and the fate of their wives, their children, and their 
country hang on the decision of the hour. Then words 
have lost their power, rhetoric is vain, and all elaborate 
oratory contemptible. Even genius itself then feels re- 
buked and subdued, as in the presence of higher qualities. 
Then patriotism is eloquent ; then self-devotion is eloquent. 
The clear conception, outrunning the deductions of logic, 
the high purpose, the firm resolve, the dauntless spirit, 
speaking on the tongue, beaming from the eye, informing 
every feature, and urging the whole man onward, right on- 
ward to his object, — this, this is eloquence ; or, rather, it is 
something greater and higher than all eloquence : it is 
action^ noble, sublime, Godlike action. 

Daniel Webster. 



ORPHEUS AND EURYDICE. 



SIR Orpheus, whom the poets have sung 
In every metre and every tongue 
Was, you may remember, a famous musician,— 
At least for a youth in his pagan condition, — - 
For historians tell he played on his shell 
From morning till night, so remarkably well 
That his music created a regular spell 
On trees and stones in forest and dell ! 



OEPHEUS AND ETTRYDIOE. 25^ 

What sort of an instrument his could b© 
Is really more than is known to me, — 
For none of the books have told, d' ye see ! 
It's very certain those heathen " swells " 
Knew nothing at all of oyster-shells, 
And it's clear Sir Orpheus never could own a 
Shell like those they make in Cremona ; 
But whatever it was, to " move the stones " 
It must have shelled out some powerful tones, 
And entitled the player to rank in my rhyme 
As the very Vieuxtemps of the very old time ! 

But alas for the joys of this mutable life ! 
Sir Orpheus lost his beautiful wife, — 
Eurydice, — who vanished one day 
From Earth, in a very unpleasant way ! 
It chanced, as near as I can determine, 
Through one of those vertebrated vermin 
That lie in the grass so prettily curled. 
Waiting to " snake " you out of the world! 
And the poets tell she went to — well — 
A place where Greeks and Romans dwell 
After they burst their mortal shell ; 
A region that in the deepest shade is, 
And known by the classical name of Hades,— 
A different place from the terrible furnace 
Of Tartarus, down below Avemus. 

Now, having a heart uncommonly stout, 
Sir Orpheus didn't go whining about, 
Nor marry another, as you would, no doubt, 
But made up his mind to fiddle her out ! 
But near the gate he had to wait, 
For there in state old Cerberus sate. 



254 PRACTICAL SLOCXmON, 

A three-headed dog, as cruel as Fate, j 

Guarding the entrance early and late ; ] 

A beast so sagacious and very voracious, j 

So uncommonly sharp and extremely rapacioua, i 

That it really may be doubted whether i 

He'd have his match, should a common tether ) 
Unite three aldermen's heads together ! ^ '; 

But Orpheus, not in the least afraid, \ 

Tuned up his shell, and quickly essayed 

What could be done with a serenade. 

In short, so charming an air he played, ' 

He quite succeeded in overreaching ] 

The cunning cur, by musical teaching, j 

And put him to sleep as fast as preaching ! j 

i 
And now our musical champion, Orpheus, • 

Having given the janitor over to Morpheui, | 

Went groping around among the ladies -j 

Who throng the dismal halls of Hades, 

Calling aloud 

To the shady crowd. 
In a voice as shrill as a martial fife, 
" O, tell me where in hell is my wife I" 
(A natural question, 'tis very plain, 
Although it may sound a little profane). 

" Eurydice ! Eu-ryd-i-ce !'' 
He cried as loud as loud could be — 
(A singular sound, and funny withal, 
In a place where nobody rides at all I) 

"Eurydice I Eurydice! 
O come, my dear, along with me !" 
And then he played so remarkably fine 
That it really might be called divine,— 



ORPHEUS AND EURYDICE. 25d 

For who can show, 
On eartli or below, 
Such wonderful feats in the musical line ? 

And still Sir Orpheus chanted his song, 
Sweet and clear and stroog and long, 

" Eurydice ! — Eurydice !" 
He cried as loud as loud could be ; 
And Echo, taking up the word. 
Kept it up till the lady heard. 
And came with joy to meet her lord. 
And he led her along the infernal route, 
Until he had got her almost out, 
When, suddenly turning his head about 
(To take a peep at his wife, no doubt). 

He gave a groan, 

For the lady was gone, 
And had left him standing there all alone ! 
For by an oath the gods had bound 
Sir Orpheus not to look around 
Till he was clear of the sacred ground. 
If he'd have Eurydice safe and sound ; 
For the moment he did an act so rash 
His wife would vanish as quick as a flash ! 

MOKA.L. 

Young women ! beware, for goodness' sakt, 
Of every sort of " sarpent snake ;" 
Remember the rogue i& apt to deceive, 
And played the deuce with Grandmother Erei 

Young men ! it's a critical thing to go 
Exactly right with a lady in tow ; 
But when you are in the proper track. 
Just go ah^ad, and never look back ! 

JoHJS G. Saxe. 



256 PRACTICAL ELOCUTION. 

A WELSH CLASSIC. 



AN unlettered clergyman wanting a place ' 

(His manners were genial and pleasant his face), ] 

Received a kind letter inviting him down . 

To preach to a church in a large country town. i 

The town was uncultured, old-fashioned, and plain ; i 

The principal business was harvesting grain, \ 

And none of the church-members ventured to speak i 

A word of the Hebrew, or Latin, or Greek. ] 

For this very reason they wished all the more, 

A scholar well grounded in classical lore ; \ 

While a candidate might just as well stay away i 

If he didn't quote Hebrew at least once a day. ^ 

The divine about whom this odd story was told, i 

By the newspaper gossips, was cunning and bold, 1 

And knowing they wished for a classical man, J 

Though he didn't know Latin, he hit on a plan. | 



For he thought, "We shall see how much shrewdness 

avails. 
Though I cannot read Greek, I'm a native of Wales : 
If a few Welsh expressions I cautiously use, 
It may rival the Hebrew in pleasing the pews." 

On the critical day, with exceptional grace. 
With well-attuned voice, and well-controlled face, 
He read from the Bible a passage or two. 
And remarked, " My dear friends, this translation won't 
da 



A WELSH CLASSIC. 257 

** To be sure 'tis correct, but if beauty you seek, 
Hear the rhythmical sound of original Greek !" 
Then boldly a medley of Welsh he recited, 
And marked the effect on his hearers benighted. 

The children gazed up with a wondering stare. 
Their mothers assumed an intelligent air, 
While the dea(ions all nodded as much as to say. 
That Greek was by far the more excellent way. 

A still bolder venture he hazarded next, 

By a curious way of announcing the text : 

" These words, as my hearers have noticed, of courac. 

Have lost nearly all their original force, 

" In the Hebrew how clearly the thought flashes out." 
And more of his Welsh he proceeded to spout ; 
When what was his horror to spy near the door 
A jolly old Welshman, just ready to roar! 

Overcome with remorse and foreseeing the shame, 
Exposure would bring to his reverend name. 
The preacher's mad impulse at first was to run, 
But the Welshman's round face so brimming with fun. 

Suggested a possible plan of escape, 

Which none but a terrified parson could shape ; 

He bravely confronted that dangerous smile. 

And coolly continued his sermon awhile. 

Till at length without showing the least agitatioa. 

He rallied himself for a final quotation : 

"The rendering here is decidedly wrong. 
Quite different thoughts to the Chaldee belong." 
Then Welshman in pulpit to Welshman in pew, 
lu the barbarous dialect they alone knew, 



25S PEACTIOAL ELOCUTION. 

Cried, " Friend I By the land of our fiithers, I pray, 
As you iiope for salvation, don't give me away !" 
The joke was so- rich, the old Welshman kept still ; 
And the classical parson is preaching there still. 

H. H. Ballard. 



EULOGY ON O'CONNELL. 



rpHERE is sad news from Genoa. An aged and weary 
J- pilgrim, who can travel no farther, passes beneath the 
gate of one of her ancient palaces, saying, with pious 
resignation, as he enters its silent chambers, " Well, it i? 
God's will that I shall never see Rome. I am disap- 
pointed, but I am ready to die." The " superb," though 
fading queen of the Mediterranean holds anxious watch 
through ten long days over the majestic stranger's wasting 
frame. And now death is there, — the Liberator of Ireland 
has sunk to rest in the cradle of Columbus. 

Coincidence beautiful and most sublime! It was the 
very day set apart by the elder daughter of the Church 
for prayer and sacrifice throughout the world for the chil- 
dren of the sacred island, perishing by famine and pesti- 
lence in their houses and in their native fields, and on 
their crowded paths of exile, on the sea and in the havens, 
and on the lakes and along the rivers of this far distant 
land. The chimes rung out by pity for his countrymen 
were O'Connell's fitting knell ; his soul went forth on 
clouds of incense that rose from altars of Christian 
charity; and the mournful anthems which recited the 
faith, and the virtue, and the endurance of Ireland were 
his becoming requiem. 

But has not O'Connell done more than enough for fame? 



EULOGY ON O'CONNELL. 25^ 

On the lofty brow of Monticeilo, under a green old oak, is 
a block of granite, and underneath are the ashes of Jef- 
ferson. Read the epitaph, — it is the sage's ciaiixi to immor- 
tality : " Author of the Declaration of Independence, and 
of the Statute for Religious Liberty." Stop now and 
write an epitaph for Daniel O'Connell : " He gave liberty 
of conscience to Europe, and renewed the revolutions of 
the kingdoms toward universal freedom, which began in 
America and had been arr6sted by the anarchy of France." 

Let the statesmen of the age read that epitaph and be 
humble. Let the kings and aristocracies of the earth read 
it and tremble. Who has ever accomplished so much for 
human freedom with means so feeble ? Who but he has 
ever given liberty to a people by the mere utterance ol 
his voice, without an army, navy, or revenues, — without a 
sword, a spear, or even a shield ? Who but he ever sub- 
verted tyranny, and saved the lives of the oppressed, and 
yet spared the oppressor ? Who but he ever detached from 
a venerable constitution a column of aristocracy, dashed 
it to the earth, and yet left the ancient fabric stronger 
than before? Who but he has ever lifted up seven 
millions of people from the debasement of ages, to the 
dignity of freedom, without exacting an ounce of gold, or 
wasting the blood of one human heart ? 

Whose voice yet lingers like O'ConnelFs in the ear of 
tyrants, making them sink with fear of change ; and in 
the ear of the most degraded slaves on earth, awaking 
hopes of freedom? Who before him has brought the 
schismatics of two centuries together, conciliating them 
at the altar of universal liberty? Who but he ever 
brought Papal Rome and Protestant America to burn 
incense together? It was O'Connell's mission to teach 
mankind that Liberty was not estranged from Christianity, 



S89 FRAOTIOAL BLOOUTION. 

M WM proclaimed by revolutionary Frauoe ; that ihe w«i 
not divorced from law and public order ; that ghe was not 
a demon like Moloch, requiring to be propitiated with the 
blood of human sacrifice ; that democracy is the daughte* 
tf pwMW, &ad, like true religion, worketh by love. 

W. H, SEWJLRIk 



A MAN'S A MAN FOR A' THAT. 



IS there, for honest poverty, 
Tliat hangs his head, and a' that ? 
The coward-slave, we pass him by, 
And dare be poor, for a' that ! 
For a' that, and a' that. 

Our toils obscure, and a' that ; 

The rank is but the guinea's stamp ; 

The man's the gowd for a' that. 

What tho' on hamely fare we dine. 
Wear hodden-gray, and a' that ; 
Gie fools their silks, and knaves their wiiw^ 
A man's a man, for a' that. 
For a' that, and a' that, 

Their tinsel show, and a' that : 
The honest man, tho' ne'er sac [joor, 
la king o' men for a' that. 

Ye Md yon birkie, ca'ed a lord. 

Wha struts, and stares, and iC ihat- 
Tho' hundreds worship at his word, 

SVs but a ooof for a' that ; 



THE SAILING OF KLNG OLAF. U&k 

For a* that, and a' that, 

His riband, star, and a' that, 
The man of independent mind. 

He looks and laughs at a' that. 

A king can mak a belted knight, 
A marquis, duke, and a' that ; 
But an honest man's aboon his might, 
Guid faith, he maunna fa' that ! 
For a' that, and a' that. 

Their dignities, and a' that, 
The pith o' sense, and pride o' worth, 
Are higher rank than a' that. 

Then let us pray that come it may. 

As come it will for a' that, 
That sense and worth, o'er a' the earth, 
May bear the gree, and a' that ; 
For a' that, and a' that ; 

It's coming yet, for a' that ; 
When man to man, the warld o'er, 
Shall brothers be for a' that. 

Robert BuKuni 



THE SAILING OF KING OLAF^ 

From the Atlantic Moathly. 



** "VrORROWAY hills are grand to r^e«, 

-i^ Norroway vales are broad and fair : 
Any monarch on earth might be 

Contented to find his kingdom there !" 
So spake Harold Haardrade, bold, 
To Ola^ his brother, with beard re<i-gol4» 



262 PRACTICAJ- ELOCUTIOir. 

** A bargain !" cried Oiaf : " Beside the strand 

Our ships rock idle. Come, sail away I 
Who first shall win to our native land. 
He shall be Idng of old Norroway." 

Quoth Harold, the stern : " My vessel for thliM^ 
I will not trust to this laggard of mine." 

** Take thou my Dragon with silken sails," 

Said Olaf, " The Ox shall be mine in place. 
If it pleases our Lord to send me gales, 
In either vessel I'll win the race. 
With this exchange ar't satisfied ?'* 
** Ay, brother," the crafty one replied. 

King Olaf strode to the church to pray 

For blessing of God on crew and ship ; 

But Harold, the traitor, made haste to weigh 

His anchor, and out of the harbor slip. 

" Pray I" laughed Harold Haardrade, " prayf 
The wind's in my favor, let sail ! Away !" 

As Olaf knelt by the chancel rail, 

Down the broad aisle came one in haste. 
With panting bosom and cheeks all pale ; 
Straight to King Olaf 's side he paced : 

" Oh ! waste no time in praying," cried»Iie^ 
" For Harold already is far at sea l" 

But Olaf answered : " Let sail who will. 

Without God's blessing I shall not go." 
Beside the altar he tarried still, 

While the good priest chanted soft and low^* 
And Olaf prayed the Lord in bis heart, 
•* i shall win yet if Thou take my part V* 



THE SAILING OF KING OLAF. 26^ 

Cheerily then he leaped on board ; 

High on the prow he took his stand ; 
** Forward !" he bade, " In the name of the Lord I** 
Held the white horn of the Ox in his hand ; 
" Now, Ox, good Ox, I pray thee speed 
As if to pasture in clover mead !" 

The huge Ox rolled from side to side, 

And merrily out of the harbor sped. 
" Dost see the Dragon ?" King Olaf cried 
To the lad who clung to the high mast-head. 
" Not so !" the watcher swift answer gave, 
" There is never a boat upon the wave." 

Onward, then, for a league and twain, 

Right in the teeth of the wind they flew. 
" See'st aught of the Dragon upon the main f* 
" Something^ to landward sure I view ! 
Far ahead I can just behold 
Silken sails with a border of gold." 

The third time Olaf called with a frown : 

" Dost see my Dragon yet ? Ho ! Say I** 

Out of the mast-head the cry came down ; 

" Nigh to the shores of Norroway 

The good ship Dragon rides full sail. 

Driving ahead before the gale I" 

** Ho ! to the haven !" King Olaf cried, 

And smote the eye of the Ox with his hand 
It leaped so madly along the tide 

That never a sailor on deck could stand ; 
But Olaf lashed them firm and fast, 
With trusiy cords, to the strong oak masU 



204 PRACTICAL ELOOUTIOW. 

' N"ow, who," the helmsman said, " will guide 

The vessel upon the tossing sea ?" 
" That will I do !" King Olaf cried, 

" And no man's life shall be lost through me."* 
Like a living coal his dark eye glowed, 
As swift to the helmsman's pliice he strode. 

Looking neither to left nor right, 

Toward the land he sailed right in. 
Steering straight as a line of light ; 
" So must I run if I would win ; 
Faith is stronger than hills or rocks. 
Over the land speed on, good Ox l" 

Into the valleys the waters rolled ; 

Hillocks and meadows disappeared ; 
Grasping the helm in his iron hold, 
(Jn, right onward, St. Olaf steered ; 
High and higher the blue waves rose ; 
" On !" he shouted, " no time to lose I" 

Swifter and swifter across the foam 

The quivering Ox leaped over the track. 
Till Olaf came to his boyhood's home ; 
Then, fast as it rose, the tide fell back, 

And Olaf was king of the whole Norseland, 
When Harold, the third day, reached the struud 

Such was the sailing of Olaf, the king, 

Monarch and saint of Norroway ; 
In view of whose wondrous prospering, 
The Norse have a saying unto this day : 
** As Harold Hani*drade found to his cct^i, 
TisM ipent in praying is never lost !" 

Alice Williams BROTHEriToii 



SCTPOftlLD gP£ECa OF JOmX jLDJLbUL 2M 



SUPPOSED SPEECH OP JOHN ADAIVIS OK THE 

DECLAEATION OF IIsDEPENDENCE. 



SINK or swim, live or die, survive or perish, I give my 
hand and mj heart to this vote. It is true, indeed, 
tliat in the beginning we aimed not at independence. But 
there's a Divinity which shapes our ends. The injustice 
Qf England has driven lis to arms ; and, blinded to her 
own interest, for our good, she has obstinately persisted, till 
independence is novr within our grasp. We have but to 
reach forth to it, and it is ours. AVhy then should we 
defer the Declaration? Is any man so weak as now to 
hope for a reconciliation with England, which shall leave 
either safety to the country and its liberties, or safety to 
his own life and his own honor ? Are not ycu, sir, who sit 
in that chair, is not he, our venerable colleague near you, 
are you not both already the proscribed and predestined 
objects of punishment and of vengeance ? Cut off from 
all hope of royal clemency, what are you, what can you be, 
while the power of England remains, but outlaws ? K we 
r>ostpone independence, do we mean to carry on or to give 
up the war ? Do we mean to submit and consent that we 
ourselves shall be ground to powder, and our country and 
Its rights trodden down in the dust ? I know we do not 
mean to submit. We never shall submit. Do we intend 
to violate that most solemn obligation ever entered into by 
men, that plighting before God, of our sacred honor to 
Washington when, putting him forth to incur the dangeri 
of war as well as the political hazards of the times, we 
promised to adhere to him, in every extremity, with our 
fortunes and our lives ? I know there is not a man her« 
who would not rather see a general conflagration sweep 
12 



206 PBACTICAL ELOCUTIOlf. 

over the land or an earthquake sink it, than one jot oi 
tittle of that plighted faith fall to the ground. The war, 
then, must go on. We must fight it through. And if the 
war must go on, why put off longer the Declaration of In- 
dependence? That measure will strengthen us. It will 
give us character abroad. 

If we fail it can be no woi-se for us. But we shall not 
'fail. The cause will raise up armies ; the cause will create 
navies. The people, the people, if we are true to them, 
will carry us, and will carry themselves, gloriously through 
this struggle. I care not how fickle other people have been 
found. I know the people of these colonies, and I know 
that resistance to British aggression is deep and settled in 
their hearts, and cannot be eradicated. Every colony, in- 
deed, has expressed its willingness to follow, if we but take 
the lead. »Sir, the Declaration wdll inspire the people with 
increased courage. Instead of a long and bloody war for 
restoration of privileges, for redress of grievances, for 
chartered immunities, held under a British King, set be- 
fore them the glorious object of entire independence, and it 
will breathe into them anew the breath of life. Read this 
Declaration at the head of the army ; every sword will be 
drawn from its scabbard, and the solemn vow uttered to 
maintain it, or to perish on the bed of honor. Publish it 
from the pulpit ; religion will approve it, and the love of 
religious liberty Avill cling round it, resolved to stand with 
it or fall with it. Send it to the public halls ; proclaim it 
there ; let them hear it who heard the first roar of th? 
enemy's cannon ; let them see it, who saw their brother 
and their sons fall on the field of Bunker Hill, and in tli 
streets of Lexington and Concord, and the very walls will 
cry out in its support. 

Sir, I know the uncertainty of human affairs, but I 



BUPPOSSD SPEECH OF JOHK ADAMS. 261 

see, I see clearly, through this day's business. You and 1 
indeed may rue it. We may not live to the time when 
this Declaration shall be made good. We may die ; die 
colonists ; die slaves ; die, it m?.y be, ignominiously and on 
the scaffold. Be it so. Be it so. If it be the pleasure of 
Heaven that my country shall require the poor offering of 
my life, the victim shall be ready at the appointed hour of 
sacrifice, come when that hour may. But while I do live, 
let me have a country, or at least the hope of a country, 
and that a free country. 

But whatever may be our fate, be assured, be assured, 
that this Declaration will stand. It may cost treasure, 
and it may cost blood ; but it will stand and it will richly 
compensate for both. Through the thick gloom of the 
present, I see the brightness of the future as the sun in 
heaven. We shall make this a glorious, an immortal day^ 
When we are in our graves our children will honor it. 
They will celebrate it with thanksgiving, with festivity, 
wdth bonfires, and illuminations. On its annual return 
they will shed tears, copious, gushing tears, not of subjec- 
tion and slavery, not of agony and distress, but of 
exultation, of gratitude, and of joy. Sir, before God, I 
believe the hour is come. My judgment approves this 
measure, and my whole heart is in it. All that I have, 
and all that I am, and all that I hope in this life, I am 
now ready here to stake upon it ; and I leave off, as I 
begun, that, live or die, survive or perish, I am for the 
Declaration. It is my living sentiment, and, by the bless- 
ing of God, it shall be my dying sentiment— independence 
now ; and independence forever ! 

Daniel Webster. 



2fll FKAOTICAL ELOCUTION. 

THE CLOWN'S BABY. 



IT vraa out on the Western frontier— 
The miners, rugged and brown, 
Were gathered around the posters ; 

The circus had come to town ! 
Tlie gi sat tent shone in the darknesi, 

Like a wonderful palace of light, 
And rough men crowded the entrance — 
Siiows didn't come there ever}' night ! 

Not a woman's face among them ; 

Many a face that was bad, 
And some that were only vacant, 

And some that were very gad. 
And ])ehind a canvas curtain. 

In a corner of the place 
The Clown, with chalk and vermillion, 

Wa* " making up " hie fact. 

A w«3ary looking woman. 

With a smile that still wsm ■w««t, 
Sewed on a little garment, 

With a cradle at her feet. 
Pantaloon stood ready and waiting, 

It was time for the going on. 
But the Clown in vain searched wildly j 

The ''property-baby" waf gone J 

He murmured impatiently hunting ; 

" It's strange that I cannot find — 
There I I've looked in every corner ; 

It must have been left behind :" 



TBCE CLOWim BABT. 36& 

The miners were stamping and shouting. 

They were not patient men. 
The Clown bent over the cradle — 

" I must take you, little Ben !" 

The mother started and shivered, 

But trouble and want were near ; 
She lifted her baby gently, 

" You'll be very careful, dear ?'* 
" Careful ? You foolish darling — " 

How tenderly it was said 1 
What a smile shone through the chalk ftpd paint-— 

" Ayhy, I love each hair of his head !" 

The noise rose with an uproar. 

Misrule for the time was king ; 
The Clown with a foolish chuckle, 

Bolted into the ring — 
But as, with a squeak and flourish 

The fiddles closed their tune, 
** You'll hold him as if he were made ot •fiajg," 

Said the Clown to Pantaloon. ^ 

The jovial fellow nodded ; 

" I've a couple myself," he said, 
*' I know how to handle 'em, bless you ; 

Old fellow, go ahead !" 
The fun grew fast and furious, 

And not one of all the crowd 
Had j^iessed that the baby was alive, 

When he suddeaily crowed aloud. 

Oh that baby laugh ! It was echoed 

From the benches with a ring. 
And the roughest customer there sprung up 

With " Boys, it's the real thing !" 



270 PRACTICAL ELOCUTIOJr. 

The ring was jammed in a minute, 
Not a man that did not strive 

For " a shot at holding the baby " — 
The baby that was " alive !" 

He was thronged by kneeling suitors 

In the midst of the dusty ring, 
And he held his court right royally,— 

The fair little baby-king, — 
Till one of the shouting courtiers, 

A man with a bold, hard face, 
The talk, for miles, of the country. 

And the terror of the place, 

Raised the little king to his shoulder, 

And chuckled, " Look at that !" 
As the chubby fingers clutched his hair. 

Then, " Boys, hand round the hat I" 
There never was such a hatful 

Of silver and gold and notes, 
People are not always penniless 

Because they don't wear coats ! 

And then, " Three cheers for the baby I** 

I tell you those cheers were meant, 
And the way in which they were given 

Was enough to raise the tent. 
And then there was sudden silence. 

And a gruif old miner said, 
" Come, boys, enough of this rumpus ! 

It's time it was put to bed." 

So, looking a little sheepish, 
But with faces strangely bright. 

The audience, somewhat lingeringly, 
Flocked out into the night. 



EULOGY ON GENERAL GRANT. 271 

And the bold-faced leader chuckled 

" He wasn't a bit afraid ! 
He's as game as he is good looking — 

Boys, that was a show that paid !" 



EXTRACT FROM A EULOGY ON GENERAL 
GRANT. 



GRANT is one of the few men in history who did more 
than was expected. Some men excite great expecta- 
tion by the brilliancy of their preparations ; but this quiet, 
meditative, undemonstrative man exceeded all expectations 
by doing more than he had promised, and by doing what 
all others had failed to do. Others had done their best 
with a conscientiousness worthy of all praise ; they had 
worked up to their maximum strength and accomplished 
much ; they had contributed largely to the final victory, 
and shall receive well of their country. It was no fault 
of theirs if nature had not endowed them for the 
ultimate achievement. But this man, pre-eminent by the 
happy combination of both nature and Providence, rose 
3uperior in the supreme moment, forced all things to do 
his bidding, and thus led the way to victory. 

His latent resources seemed inexhaustible. Was Fort 
Donelson esteemed impregnable ? It yielded to his com- 
mand for an immediate and "unconditional surrender," 
Did Vicksburg defy his sixth plan of capture? His 
seventh plan was a success. Did Richmond hurl defiance 
at all previous attempts ? His final effort was a triumph, 
and over the doomed capital of the Confederacy triumph- 
antly floated the flag of the Union, 



3^ PRACTICAL ILOCUTIOW. 

But whence the secret of the power of this one life ob 
the thought of the world and the love of mankind ? 

Others have insured for themselves imi^erishable re- 
nown for their martial prowess, for tlieir profound states- 
manship, for the display of their marvelous intellects ; but 
where in all the annals of the earth and time shall we find 
another who more than he stamped all that he said and all 
that he did with such purity and loftiness of character? 
His individuality was most intense. This was the source 
of his strength, the power of his action, the glory of his 
achievements. He was never other than himself. He 
acted with a spontaneity all his own. 

And what were the elements of that character, so unique, 
symmetrical, and now immortal ? God had endowed him 
with an extraordinary intellect. For forty years he wa« 
hidden in comparative obscurity, giving no indications of 
his wondrous capacity ; but in those four decades he waa 
maturing, and at the appointed time God lifted the veil of 
obscurity, called upon him to save a nation and give a new 
direction to the civilization of the world. How calm his 
judgment, how clean and quick and accurate his imagina- 
tion, how vast and tenacious his memory ! 

From this better nature and higher mission as a warrior 
sprang his conduct toward the vanquished. He had nc 
hatred in his heart. His heart was as tender as a woman's. 
He was not vindictive. His holy evangel to the nation 
was, " Let us have peace." Hence, toward the close of the 
war, those who had fought against him saw that there was 
no safety but in the arms of their conqueror. In his 
dying chamber he grasped the hand of him whose sword 
was the first he had won, and said : " I have witnessed 
since my sickness just what I wished to see ever since the 
<var — harmony and good feeling between the iectiona," 



Such ii the character of the true conqueror. Only «u<^ 
live in the gratefiil recollections of mankind. Away with 
heroes without humanity ! They may force our respect and 
seduce our admiration, but they can never win our love. 
God planted goodness in man as the image of Himself. 
Greatness should spring from goodness. This is the price 
of hearts. Away with your Alexanders and Caesars and 
Tamerlanes ! Let them be to our Christian civilization 
what the gigantic monsters of a departed period are in 
zoological history — types of an inferior age. In the on* 
coming centuries mankind will honor only those who drew 
tlie sword in defense of human rights and in support of the 
constitutional authority. Then, All hail, Mount Vernon ! 
Then, All hail, Mount McGregor ! 

J. P. Newmaw. 



"BAY BILLY." 



TWAS the last fight at Frederieksbury— 
Perhaps the day you reck, 
Our boys, the Twenty-second Maine, 

Kept Early's men in check. 
Just where Wade Hampton boomed away 
The fight went neck and neck. 

AH day we held the weaker wing. 

And held it with a will ; 
Five several stubborn timet we charged 

The battery on the hill, 
And five times beaten back, reformed, 

And kept our columns still. 

18* 



IT4 PRACTICAL ELOOUTIOK. 

At last from out the centre fight 

Spurred up a General's Aid. 
" That battery must silenced be I" 

He cried, as past he sped. 
Our Colonel simply touched his cap, 

And then, with measured tread, 

To lead the crouching line once more 

The grand old fellow came. 
No wounded man but raised his head 

And strove to gasp his name, 
And those who could not speak nor stir, 

" God blessed him " just the same. 

For he was all the world to us, 

That hero gray and grim ; 
Right well he knew that fearful slope 

We'd climb with none but him. 
Though while his white head led the way 

We'd charge hell's portals in. 

This time we were not half way up, 
When, midst the storm of shell. 

Our leader, with his sword upraised, 
Beneath our bay'nets fell. 

And, as we bore him back, the foe 
Set up a joyous yell. 

Our hearts went with him. Back we swept* 

And when the bugle said, 
** Up, charge again !" no man was there 

But hung his dogged head. 
'* We've no one left to lead us now/' 

The sullen soldiers said. 



Just then, before the laggard line 
The Colonel's horse we spied — 

Bay Billy, with his trappings on, 
His nostril swelling wide. 

As though still on his gallant back 
The master sat astride. 

Right royally he took the place 

That was of old his wont, 
And with a neigh, that seemed to say 

Above the battle's brunt, 
* How can the Twenty-second charge 

If I am not in front ?" 

Like statues we stood rooted there. 

And gazed a little space ; 
Above the floating mane we missed 

The dear familiar face ; 
But we saw Bay Billy's eye of fire. 

And it gave us heart of grace. 

No bugle call could rouse us all 
As that brave sight had done ; 

Down all the battered line we felt 
A lightning impulse run ; 

Up, up the hill we followed Bill, 
And captured every gun ! 

And when upon the conquered heighfc 
Died out the battle's hum,* 

Vainly 'mid living and the dead 
We sought our leader dumb ; 

It seemed as if a spectre steed 
To win that day had come. 



At but the mornliig broke. Th% Imk 

Bang in the merry skies 
Ai if to e'en the sleeper* th§n 

It gaid, Awake, arise ! 
Though naught but that lait tnunp of aC 

Could ope their heavy eyes. 

And then once more, with banners gay, 
Stretched out the long brigade ; 

Trimly upon the furrowed field 
The troops stood on parade, 

And bravely 'mid the ranks were clotad 
The gaps the fight had made. 

Not half the Twenty-second's men 
Were in their place that mom, 

And Corp'ral Dick, who y ester-noon 
fStood six brave fellows on, 

Now touched ray elbow in the rank*, 
For all between were gone. 

All ! who forgets that dreary hour 

When, as with misty eyes, 
To call the old familiar roll 

The solemn Sergeant tries — 
One feels that thumping of the htwrt 

As no prompt voice replies. 

And a« in filtering tone and ilow 
The laat few names were wiid, 

Acrosi the field some miising hon« 
Toiled up with weary tread. 

[t caught the Sergeant's eye, and qniek 
Bay_BilIy's name was read. 



TTOSDS OX LAK«UA«£. 277 

Yes ! there the old bay hero stood, 

Ail safe from battle's harms, 
And ere an order could be heard, 

Or the bugle's quick alarms, 
Down ail the front, from end to end. 

The troops presented arms ! 

Not all the shoulder straps on earth 

Could still our mighty cheer. 
And ever from that famous day, 

When rang the roll-call clear, 
Bay Billy's name was read, and then 

The whole line answered " Here !" 

Fkank H. G ass aw ay. 



WORDS ON LANGUAGK 



SOME words on language may be well applied, 
And take them kindly, though they touch your pride 
Words lead to things ; a scale is more precise, — 
Coarse speech, bad grammar, swearing, drinking, vice. 

Our cold northeaster's icy fetter clips 
The native freedom of the Saxon lips ; 
See the brown peasant of the plastic South, 
How all hi» passions play about his mouth ! 
With us, the feature that transmits the soul, 
A frozen, passive, palsied breathing-hole. 

The crampy shackles of the ploughboy's walk 
Tie the small muscle* when he strives to talk ; 
Not all the pumice of the polished town 
Can smooth this roughnesa of the barnyard down ; 



27d PRACmCAL ELOCUTION. 

Rich, honored, titled, he betrays his race 
By this one mark, — he's awkward in the face *,— 
Nature's rude impress, long before he knew 
The sunny street that holds the sifted few. 

It can't be helped, though, if we're taken young, 
We gain some freedom of the lips and tongue ; 
But school and college often try in vain 
To break the padlock of our boyhood's chain ; 
One stubborn word will prove this axiom true ; 
No quondam rustic can enunciate view. 

A few brief stanzas may be well employed 
To speak of errors we can all avoid. 
Learning condemns beyond the reach of hope 
The careless churl who speaks of s6ap for soap ; 
Her edict exiles from her fair abode 
The clownish voice that utters r5ad for road ; 
Less stem to him who calls his coat a c(5at. 
And steers his boat, believing it a b6at. 
She pardoned one, our classic city's boast, 
Who said, at Cambridge, m6st instead of most ; 
But knit her brows, and stamp'd her angry foot. 
To hear a teacher call a root a r6ot. 

Once more ; speak clearly, if you speak at all ; 

Carve every word before you let it fall ; 

Don't, like a lecturer or dramatic star. 

Try over-hard to roll the British R ; 

Do put your accents in the proper spot ; 

Don't— let me beg you— don't say " How ?" for " What ?' 

Ajid, when you stick on conversation's burs, * 

Don't strew the pathway with those dreadftil urs. 

0. W. Holmes. 



AN EXTKACT FKOM SNOW-BOUND. ^70 

AN EXTRACT FROM SNOW-BOUND. 



UN WARMED by any sunset light 
The gray day darkened into night, 
A night made hoary with the swarm 
And whirl-dance of the blinding storm. 
As zigzag wavering to and fro 
Crossed and recrossed the wingM snow : 
And ere the early bed-time came 
The white drift piled the window-frame, 
And through the glass the clothes-line posts 
Looked in like tall and sheeted ghosts. 

So all night long the storm roared on : 

In starry flake, and pellicle, 

And, when the second morning shone, 

We looked upon a world unknown, 

On nothing we could call our own. 

Around the glistening wonder bent 

The blue walls of the firmament, 

No cloud above, no earth below, — 

A universe of sky and snow ! 

The old familiar sights of ours 

Took marvelous shapes ; strange domes and towers 

Rose up where sty or corn-crib stood, 

Or garden wall, or belt of wood ; 

A smooth white mound the brush-pile showed, 

A fenceless drift what once was road ; 

The bridle-post an old man sat 

With loose-flung coat and high cocked haA ; 

The well-curb had a Chinese roof; 

And even the long sweep, high alooi^ 



28Q PRACTICAL ELOCmON. 

In iti slant splendor, seemed to t«ll 
Of Pisa's leaning miracle. 

A prompt, decisive man, no breath 
Our father wasted : " Boys, a path !" 
Well pleased, (for when did fanner boy 
Count such a summons less than joy ?) 
Our buskins on our feet we drew ; 

With mittened hands, and caps drawn low. 
To guard our necks and ears from snow, 
We cut the solid whiteness through. 
And, where the drift was deepest, mad« 
A tunnel walled and overlaid 
With dazzling cr}^stal ; we had read 
Of rare Aladdin's wondrous cave, 
And to our own his name we gave, 
With many a wish the luck w^ere ouit 
To test his lamp's supernal powers. 
We reached the barn with merry din, 
And roused the prisoned brutes within. 

All day the gusty north-wind bore 
The loosening drift its breath before ; 
Low circling round its southern zone, 
The sun through dazzling snow-mist shont. 
No church-bell lent its Christian tone 
To the savage air, no social smoke 
Curled over woods of snow-hung oak. 
Ai^ night drew on, and, from the cre?t 
Of wooded knolls that ridged the went 
The *un, a snow-blown traveler, sank 
From eight beneath the smothering l>?nk« 
W© piled, with care, our nightly stack 
Of wo«d against the chimnej-back,— 



The oaken log, green, huge, and thick, 
And on its top the stout back stick ; 
The knotty forestick laid apart, 
And Ulled between with cuiious ait 
The ragged brush ; then, hovering near, 
We watched the first red blaze appear, 
Heard the sharp crackle, caught the gleam 
On whitewashed wall and sa,gging beam, 
Until the old, rude-furnished room 
Burst, flower-like, into rosy bloom ; 
'\^niiie radiant with a mimic flame 
Outside the sparkling drift became, 
And through the bare-boughed lilac-tree 
Our own warm hearth seemed blazing free. 

J. G. Whittier. 



JOHN BUNYAN. 



BUNYAN is almost the only writer that ever gav« to 
the abstract the interest of the concrete. In th* 
works of many celebrated authors men are mere personifi- 
cations. We have not an Othello, but jealousy ; not an 
lago, but perfidy; not a Brutus, but patriotism. The 
mind of Bunyan, on the contrary, was so imaginative that 
personifications, when he dealt with them, became men. A 
dialogue between two qualiti^, in his dream, has more 
dramatic effect than a dialogue between two human beings 
in most plays. 

The style of Bunyan is delightful to every reader, and 
invaluable as a study to every person who wishes to obtain 
a wide command over the English language. Th« vocabu- 
lary is the vocabulary of the ooromon people. There is 



8SS PRACTICAL ELOCUTION. 

not an expression, if we except a few technical terms ot 
theology, which would puzzle the rudest peasant. We 
have observed several pages which do not contain a single 
word of more than two syllables. Yet no writer has said 
more exactly what he meant to say. For magnificence, 
for pathos, for vehement exhortation, for subtile disquisi- 
tion, for every purpose of the poet, the orator, and the divine, 
this homely dialect, the dialect of plain workingmen, was 
perfectly sufficient. There is no book in our literature on 
which we would so readily stake the fame of the old un- 
polluted English language ; no book which shows so well 
how rich that language is, in its own proper wealth, and 
how little it has been improved by all that it has borrowed. 
Cowper said, fifty or sixty years ago, that he dared not 
name John Bunyan in his verse for fear of moving a sneer. 
We live in better times ; and we are not afraid to say, that 
though there were many clever men in England during 
the latter half of the seventeenth century, there were 
only two great creative minds. One of these produced 
tiie " Paradise Lost," the other the " Pilgrim's Progress." 

Macaulay. 



LOCHINYAK'S BIDE. 



YOUNG Lochinvar is come out of the West ! 
Through all the wide border his steed was the best ; 
And, save his good broadsword, he weapons had none ; 
He rode all unarmed and he rode all alone. 
So faithful in love, and so dauntless in war, 
There never was knight like the young Lochinvar. 

He stayed not for brake, and he stopped not for stone ; 
He swam the Eske river where ford there was none ; 



v)chinvae's eibe. 283 

But, ere he aliglited at Netherby gate, 
The bride had consented — the gallant came late ; 
For a laggard in love, and a dastard in war, 
Was to wed the fair Ellen of brave Lochinvar. 

So boldly he entered the Netherby hall, 

Among bridesmen, and kinsmen, and brothers, and alL 

Then spoke the bride's father, his hand on his sword — 

For the poor craven bridegroom said never a word — 

" O come ye in peace here, or come ye in war. 

Or to dance at our bridal, young Lord Lochinvar?" 

" I long wooed your daughter ; — my suit you denied ; 
Love swells like the Sol way, but ebbs like its tide ; 
And now I am come, with this lost love of mine 
To lead but one measure — drink one cup of wine. 
There be maidens in Scotland, more lovely by far. 
That would gladly be bride to the young Lochinvar/* 

The bride kissed the goblet ; the knight took it up ; 
He quaffed off the wine, and he threw down the cup ; 
She looked down to blush, and she looked up to sigh, 
With a smile on her lip, and a tear in her eye ; 
He took her soft hand ere her mother could bar ; — 
" Now tread we a measure ?" said young Lochinvar, 

So stately his form and so lovely her face. 
That never a hall such a galliard did grace ; 
While her mother did fret, and her father did fiime, 
And the bridegroom stood dangling his bonnet and plume^ 
And the bridemaidens whispered, " 'Twere better, by far. 
To have matched our fair cousin with young Lochinvar." 

One touch to her hand, and one word in her ear, 
When they reached the hall door, where the charger stood 
near ; 



!M PEi.OTICAL BLOCUTIOar. 

S() light to the croup the fair lady he swung, 
So light to the saddle before her he sprung ; 
" She is won ! we are gone, over bank, bush, and scaur ; 
They'll have fleet steeds that follow !" quoth young Loch 
invar. 

There was mounting 'mong Graemes of the Netherby clan ; 
Fosters, Fenwicks, and Musgraves, they rode and they 

ran ; 
There was racing and chasing on Cannobie lea, 
But the lost bride of Netherby ne'er did they set. 
So daring in love, and so dauntless in war. 
Have ye e'er heard of gallant like young L(jchinvar ? 

Sir Walter Scott. 



THE TWO ROADS. 

Tranilated from the German of J«aft Paul Bicktar. 



IT waa New Year's night. An aged man waa standing 
at a window. He raised his mournful eyes toward the 
deep blue sky, where the stars were floating, like whit« 
lilies, on the surface of a clear, calm lake. Then he cast 
them on the earth, where few more hopeless beings than 
himself now moved toward their certain goal — the tomb. 

Already he had passed sixty of the stages which lead to 
it, and he had brought from hi« journey nothing but 
errors and remon*. Hii health wai destroyed, hii mind 
vacant, hi» heart iorrowfiil, and hii old ago devoid of 
comfort. 

Tlie days of his youth rose up in a vision befort him, 
And he recalled the solemn moment when his father had 
placed him at the entrance of two roads, — one leading 



THE TWO BOAXie, 2#6 

into a peat^fiil, sunny land, covered witli a fertile harvest, 
and resounding with soft, sweet songs ; while the other 
conducted the wanderer into a deep, dark cave, whence 
there was no issue, where poison flowed instead of water, 
and where serpents hissed and crawled. 

He looked toward the sky, and cried out in his agony : 
" O youth, return ! O my father, place me once more at the 
entrance to life, that I may choose the better way !" But 
the days of his youth and his father had both passed away. 

He saw wandering lights floating away over dark 
marshes, and then disappear. These were the days of his 
wasted life. He saw a star fall from heaven, and vanish 
in darkness. This was an emblem of himself; and the 
sharp arrows of unavailing remoi'se struck home to his 
heart. Then he remembered his early companions, who 
entered on life with him, but who, having trod the pathi 
of virtue and of labor, were now honored and happy on 
this New Year's night. 

The clock, in the high church tower, struck, and the 
Hound, falling on his ear, recalled his parents' early love 
for him, their erring son ; the lessons they had taught him; 
the prayers they had oflered up on his behalf. Over- 
whelmed with shame and grief, he dared no longer look 
toward that heaven where his father dwelt ; his darkened 
eyes dropped tears, and with one despairing efibrt he cried 
aloud : " Come back, my early days ! come back !" 

And his youth did return, for all this was but a dream 
^vhich had visited his slumbers on New Year's night. He 
was still young ; his faults alone were real. He thanked 
God fervently that tim« wag still his own ; t^at he had not 
yet entered the dtep, dark cavam, but that he wai fx&e to 
tread th« road leading to the paaosful land whara »UJU3^ 
harvest! waT«. 



J?86 PRACTICAL ELOCUTION. 

Ye who still linger on the threshold of life, doubting 
which path to choose, remember that, when years are 
passed, and your feet stumble on the dark mountain, you 
will cry bitterly, but cry in vain : " O youth, return 1 

O GIVE ME BACK MY EARLY DAYS !" 



THE REVOLUTIONARY RISING. 



\ 

07 permission of J. B. Lippincott Co., publishers of "Read'i FoooHk** J 



OUT of the North the wild news came, j 

Far flashing on its wiiiL's of flame, J 

Swift as the boreal light which flies i 

At midnight through the startled skies. \ 

And there was tumult in the air, | 

The fife's shrill note, the drum's loud beat, ^ 

And through the wide land everywhere ) 

The answering tread of hurrying feet ; j 

While the first oath of Freedom's gun '^1 

Came on the blast from I^xington ; '\ 
And Concord roused, no longer tame, 
Forgot her old baptismal name. 
Made bare her patriot arm of power, 

And swelled the discord of the hour. ^ 

Within its shade of elm and oak . 

The church of Berkley Manor stood, \ 
There Sunday found the rural folk, 

And some esteemed of gentle blood. ; 

In vain their feet ^dth loitering tread 

Passed mid the graves where rank is naught, j 

All could not read the lesson taught \ 

In that republic of the dead. j 



THE REVOLUTIONARY RISING. 287 

How sweet the hour of Sabbath talk, 

The vale with peace and sunshine full, 
Where all the happy people walk, 

Decked in their homespun flax and wool ; 

Where youth's gay hats with blossoms bloom 
And every maid, with simple art. 
Wears on her breast, like her own heart, 

A bud whose depths are all perfume ; 
While every garment's gentle stir 
Is breathing rose and lavender. 

The pastor came ; his snowy locks 

Hallowed his brow of thought and care ^ 

And calmly, as shepherds lead their flocks. 
He led into the house of prayer. 

Then soon he rose ; the prayer was strong ; 

The Psalm was warrior David's song ; 

The text, a few short words of might — 
' The Lord of hosts shall arm the right !" 

He spoke of wrongs too long endured, 

Of sacred rights to be secured ; 

Then from his patriot tongue of flame 
The startling words for Freedom came. 
The stirring sentences he spake 
Compelled the heart to glow or quake, 
And, rising on the theme's broad wing. 

And grasping in his nervous hand 

The imaginary battle-brand, 
In face of death he dared to fling 
Defiance to a tyrant king. 

Even as he spoke, his frame, renewed 
In eloquence of attitude. 



3M PEACTICAL KLOOUTltlir. 

Iiose, as it seemed, a shoulder higher; 
Then swept his kindling glance of fire 
From startled pew to breathless choir ; 
When suddenly his mantle wide 
His hands impatient flung aside, 
And, lo I he met their wondering eyei 
Complete in all a warrior's guise. 

A moment there was awful pause — 
When Berkley cried, " Cease, traitor ! 
God's temple is the house of peace !" 

The other shouted, " Nay, not go, 
When God is with our righteous cause; 
His holiest places then are ours, 
His temples are our forts and towers 

That frown upon the tyrant foe ; 
In this, the dawn of Freedom's day, 
There is a time to fight and pray I" 

And now before the open door — 

The warrior priest had ordered bo — 
The enlisting trumpet's sudden roar 
Rang through the chapel, o'er and o'er, 
Its long reverberating blow. 

80 loud and clear, it seemad th« «<ir 
Of dusty death must wake and hear. 
And t]iere the startling drum and fift 
Fired the living with fiercer life ; 
While overhead, with wild increase, 
Forgetting its ancient toll of peace, 

The great bell swung as ne'er before. 
It seemed ai it would never 



And trery word its order flimg 
From oft its jubilant iron tongut 
Was, "War I War! WAEI" 

" Who dares ?" — this was the patriot's cry, 

As striding from the desk he came — 
" Come out with me, in Freedom's name, 

For her to live, for her to die !" 

A hundred hands flung up reply, 

A. hundred voices answered, " I !" 

Thomas Buchaican Riia& 



A LOST CHORD. 



SEATED one day at the organ, 
I was weary and ill at ease, 
And my fingers wander'd idly 
Over the noisy keys. 

I do not know what I was playkif. 
Or what I was dreaming then, 

But I struck one chord of music, 
Like the sound of a great Amen. 

It flooded the crimson twilight. 
Like the close of an angel's paalM 

And it lay on my fevered spirit, 
With a touch of infinite calm. 

It quieted pain and sorrow, 
Like love overcoming strife • 

It seem'd the harmonious echo 
From our discordant life. 
}| 



IM PRACTICAL ELOCUTIOK. 

It link'd all perplex'd meaningi 

Into one perfect peace, 
And trembled away into silence, 

As if it were loth to cease. 

I have sought, but I seek it vainly, 

That one lost chord divine, 
That came from the soul of the orgaa, 

And enter'd into mine. 

It may be that Death's bright angel 
Will speak in that chord again ; 

It may be that only in Heaven 
I shall hear that grand Amen. 

Adelaide Anne Proctob, 



THE AMERICAN WAR. 

THESE abominable principles, and this more abominable 
avowal of them, demand the most decisive indigna- 
tion ! I call upon that Right Reverend Bench, those holy 
ministers of the Gospel, and pious pastors of our Church : 
I conjure them to join in the holy work, and to vindicate 
the religion of their God ! I appeal to the wisdom and 
the law of this learned Bench, to defend and support the 
justice of their country ! I call upon the Bishops to inter- 
pose the unsullied sanctity of their lawn, upon the judges 
to interpose the purity of their ermine, to save us from 
this pollution ! 

I call upon the honor of your Lordships, to reverence 
the dignity of your ancestors, and to maintain your own / 
1^ call upon the spirit ^^^ humanity of my country, to 



THE GLASS RAILEOAD. t91 

Vindicate the national character ! I invoke the genius of 
the Constitution ! From the tapestry that adorns these 
walls, the immortal ancestor of the noble Lord frowns with 
indignation at the disgrace of his country ! 

Turn forth into our settlements, among our ancient con- 
nections, friends, and relations, the merciless cannibal, 
thirsting for the blood of man, woman, and child ? Send 
forth the infidel savage ? Against whom ? Against your 
brethren ! To lay waste their coimtiy, to desolate their 
dwellings, and extirpate their race and name, with these 
horrible hounds of savage war ! 

Spain armed herself with blood-hounds to extirpate the 
wretched natives of America ; and we improve on the in- 
human example of even Spanish cruelty ; — we turn loose 
these savages, these fiendish hounds, against our brethren 
and countrymen in America, of the same language, laws, 
liberties, and religion — endeared to us by every tie that 
should sanctify humanity ! Pitt. 



THE GLASS RAILROAD. 



IT seemed to me as though I had been suddenly aroused 
from my slumber. I looked around and found myself 
in the centre of a gay crowd. The fii*st sensation I expe- 
rienced was that of being borne along, mth a peculiar 
motion. I looked around and found that I was in a long 
train of cars which were gliding over a railway, and 
seemed to be many miles in length. It was composed of 
many cars. Every car, open at the top, was filled mth 
men and women, all gayly dressed, and happy, and all 
laughing, talking, and sinc^ino:. The peculiarly gentle 
motion of the cars interested ine. There waa no grating, 



IM TRAOIjaJLL ELOOUTIOlf. 

such Rs w© usually hear on the railroad. They moved 
along without the least jar or sound. This, I say, inter* 
ested me. I looked over the side, and to my astonishment 
found the railroad and cars made of glass. The gla*f 
wheels moved over the glass rails without the least noise 
or oscillation. The soft gliding motion produced a feeling 
of exquisite happiness. I was happy! It seemed a» 
everything was at rest within — I was full of peace. 

While I was wondering over this circumstance, a new 
«ight attracted my gaze. All along the road, within a foot 
of the track, were laid long lines of coffins on either side 
of the railroad, and every one contained a corpse dressed 
for burial, with its cold white face turned upward to the 
light. The sight filled me with horror ; I yelled in agony, 
but could make no sound. The gay throng who were 
around me only redoubled their singing and laughter at 
the sight of my agony, and we swept on, gliding on with 
glass wheels over the railroad, every moment coming 
nearer to the bend of the road, which formed an angk 
with the road far, far in the distance. 

" Who are those ?" I cried at last, pointing to the dead 
in the coffins. 

" These are the persons who made the trip before ui," 
was the reply of one of the gayest persons near m*. 

"What trip?" I asked. 

" Why, the trip you are now making ; the trip on thU 
glass railway," was the answer. 

" Why do they lie along the road, each one in hia coffin V 
I wau answered with a whisper and a half laugh which 
froze my blood : — 

" They were dashed to death at the end of the railroad," 
Baid the person whom I addressed. 

** You know the railroad terminates at an abyss which 



TRM «LA»6 31AILSOAD. SM 

is without bottom or measure. It is lined with pointed 
rocks. As ^ch car arrives at the end it precipitates its 
passengers into the abyss. They are dashed to pieces 
against the rocks, and their bodies are brought here and 
placed in the coffins as a warning to other passengers ; but 
no one minds it, we are so happy on the glass railroad." 

I can never describe the horror with which those words 
Inspired me. 

" What is the name of the glass railroad ?" I asked. 

The person whom I asked, replied in the same strain :— 

" It is very easy to get into the cars, but very hard to 
get out. For, once in these, everybody is delighted with 
the soft, gliding motion. The cars move gently. Yes, this 
is a railroad of habit, and with glass wheels we are whirled 
over a glass railroad toward a fathomless abyss. In a few 
moments we'll be there, and they'll bring our bodies and 
out them in coffins as a warning to others ; but nobody will 
mind it, will they T* 

I was choked with horror. I struggled to breathe— 
made frantic efforts to leap from the cars, and in the 
struggle I awoke. I know it was only a dream, and yet 
whenever I think of it, I can see that long train of cars 
moving gently over the glass railroad. I can see cars far 
ahead, as they are turning the bend of the road. I can 
iee the dead in their coffins, clear and distinct on either 
«ide of the road ; while the laughing and singing of th© 
gay and happy passengers resound in my ears, I only see 
the cold faces of the dead, with their glassy eyea uplifted, 
and their frozen hands upon their shrouds. 

It was, indeed, a horrible dream. A long train of glassi 
cars, gliding over a glass railway, freighted with youth, 
beauty, and music, while on either hand are stretched the 



294 PRACTICAL ELOCUTIOlf. 

victims of yesterday — gliding over the railway of habh 
toward the fathomless abyss. 

"There was a moral in that dream." 

** Reader, are you addicted to any sinful habit ? Break 
it qAT ere you dash against the rocks." 

George Lippard. 



GUIDE ME, O THOU GREAT JEHOVAH! 



GUIDE me, O Thou great Jehovah ! 
Pilgrim through this barren land ; 
I am weak, but Thou art mighty ; 
Hold me with Thy powerful hand ; 

Bread of heaven, 
Feed me till I want no more. 

Open Thou the crystal fountain 

Whence the healing streams do flow ; 

Let the fiery, cloudy pillar 

Lead me all my journey through ; 

Strong Deliverer, 
Be Thou still my Strength and Shield. 

When I tread the verge of Jordan, 

Bid my anxious fears subside ; 
Death of death ! and hell's Destruction ! 

Land me safe on Canaan's side ; 
Songs of praises 

I will ever give to Thee. 

W. WrLLIAM» 



lamt LOTEB OF MT BOfOU JW5 

IN THE CROSS OF CHRIST I GLORY. 



IN the cross of Christ I glory, 
Towering o'er the wrecks of time ; 
All the light of sacred story 
Gathers round its head sublime. 

When the woes of life o'ertake me, 
Hopes deceive, and fears annoy, 

Never shall the cross forsake me : 
Lo ! it glow^s with peace and joy. 

When the sun of bliss is beaming 

Light and love upon my way, 
From the cross the radiance, streaming. 

Adds more lustre to the day. 

Bane and blessing, pain and pleasure, 

By the cross are sanctified ; 
Peace is there, that knows no measure, 

Joys that through all time abide. 

In the cross of Christ I glory. 
Towering o'er the wrecks of time ; 

All the light of sacred story 
Gathers round its head sublime. 

J. BowRiNa 



JESUS ! LOVER OF MY SOUL. 



JESUS! lover of my soul, 
Let me to Thy bosom fly. 
While the billows near me roll, 
While the tempest still is high ; 



PRACTICAL ELOCUTIOlff. 

Hide me, O my Saviour! hide^ 

Till the storm of life is past ; 
Safe into the haven guide ; 

Oh. receive my soul at last I 

Other refuge have I none ; 

Hangs my helpless soul on ThM ; 
Leave, ah ! leave me not alone, 

Still support and comfort me. 
All my trust on Thee is stayed ; 

All my help from Thee I bring ; 
Cover my defenseless head 

With the shadow of Thy wing. 

Thou, O Christ ! art all I want ; 

More than all in Thee I find ; 
Raise the fallen, cheer the faint. 

Heal the sick, and lead the blind. 
Just and holy is Thy name, 

I am all unrighteousness ; 
Vile and full of sin I am, 

Thou art full of truth and graot. 

Plenteous grace with Thee is found,— 

Grace to pardon all my sin ; 
Let the healing streams abound, 

Make and keep me pure within ; 
Thou of life the fountain art, 

Freely let me tak© of The« ; 
Spring Thou up vrithin my h««?rt, 

EiM U all ttdmi^. 0. Weslvk 



MY OOUHTRtI 'tis OF XHJHI. 

MY COUNTRY! 'TIS OP THEE. 



MY country I 'tis of thee, 
Sweet land of liberty^ 
Of thee I sing ; 
Land where my fathers died ? 
Land of the Pilgrims' pride ' 
From every mountain side 
Let freedom ring 1 

My native country, thee — 
Land of the noble, free — 

Thy name I love ; 
I love thy rocks and rills, 
Thy woods and templed hills; 
My heart with rapture thrilla 

Like that above. 

Let music swell the breeze. 
And ring from all the trees 

Sweet freedom's song ; 
Let mortal tongues awake ; 
Let all that breathe partake ; 
Let rocks their silence break,— 

The sound prolong. 

Our fathers' God ! to Th©(», 
Author of liberty, 

To Thee we sing : 
Long may our land be bright 
With freedom's holy light : 
Protect us by Thy might, 

Great God, our King ! S. F. Smttbu 



^^ PRACTICAL ELOCUTION. 



MATTHEW XXV. 



THEN shall the kingdom of heaven be likened unU 
ten virgiiiiS, which took their lamps, and went forth 
to meet the bridegroom. 

And five of tliem were wise, and five were foolish. 

They that were foolish took their lamps, and took no 
oil with them. 

But the wise took oil in their vessels with their lamps. 

While the bridegroom tarried, they all slumbered and 
•lept. 

And at midnight there was a cry made, Behold, the 
bridegroom cometh ; go ye out to meet him. 

Then all those virgins arose, and trimmed their lamps. 

And the foolish said unto the wise. Give us of your oil; 
for our lamps are gone out. 

But the wise answered, saying, Not so ; lest there be not 
enough for us and you ; but go ye rather to them that sell, 
and buy for youi-selves. 

And while they went to buy, the bridegroom came ; and 
they that were ready went in with him to the marriage : 
ajid the door was shut. 

Afterward came also the other virgins, saying. Lord, 
Lord, open to us. 

But he answered and said, Verily I say unto you, J 
know you not. 

Wa-ch therefore, for ye know neither the day nor the 
hour wherein the Son of man cometh. 

For the kingdom of heaven is as a man traveling intc 
a far country, who called his own servants, and delivered 
^nto them his goods. 



MATTHEW XXT. 299 

And unto one he gave five talents, to anotlie' two, and 
to another one ; to every man according to k^ "several 
ability ; and straightway took his journey. 

Then he that had received the five talents wea^ and 
traded with the same, and made them other five taleM««. 

And likewise he that had received two, he also ga-iued 
other two. 

But he that had received one went and digged in t^e 
earth, and hid his lord's money. 

After a long time the lord of those servants cometh, and 
reckoneth with them. 

And so he that had received five talents came and 
brought other five talents, saying. Lord, thou deliveredst 
unto me five talents : behold, I have gained beside them 
five talents more. 

His lord said unto him. Well done, thou good and 
faithful servant : thou hast been faithful over a few things. 
I will make thee ruler over many things : enter thou into 
the joy of thy lord. 

He also that had received two talents came and said; 
Lord, thou deliveredst unto me two talents: behold, 1 
have gained two other talents beside them. 

His lord said unto him, Well done, good and faithful 
servant ; thou hast been ftiithfal over a few things, I will 
make thee ruler over many things : enter thou into the joy 
of thy lord. 

Then he which had received the one talent came and 
said, Lord, I knew thee that thou art an hard man, reap- 
ing where thou hast not sown, and gathering where thou 
hast not strewed : 

And I was afraid, and went and hid thy talent in the 
«arth : lo, tbere thou hast that is thine. 

Hie lord answered and said unto him, Thou wicked and 



100 PRACTICAL BLOCUTICttf. 

elothful servant, thou kaewest that I reap where I sowed 
not, and gather where I have not strewed : 

Thou oughtest therefore to have put my money to the 
exchangers, and then at my coming I should have received 
mine own with usury. 

Take therefore the talent from him, and give it unto 
him which hath ten talents. 

For unto every one that hath shall be given, and he shall 
have abundance : but from him that hath not shall be 
taken away even that which he hath. 

And cast ye the unprofitable servant into outer dark- 
ness : there shall be weeping and gnashing of teeth. 

When the Son of man shall come in His glory, and all 
the holy angels with Him, then shall He sit upon the 
throne of Plis glory : 

And before Him shall be gathered all nations : and He 
•hall separate them one from another, as a shepherd divid- 
•th his sheep from the goats : 

And He shall set the sheep on His right hand, but the 
goats on the left. 

Then shall the King say unto them on His right hand. 
Come, ye blessed of my Father, inherit the kingdom pre- 
pared for you from the foundation of the world : 

For I was an hungered, and ye gave me meat : I wm 
thirsty, and ye gave me drink : I waa a stranger, and ye 
took me in : 

Naked, and ye clothed me : I was sick, and ye visited 
me : I was in prison, and ye came unto me. 

Then shall the righteous answer Him, saying. Lord, 
when saw we Thee an hungered, and fed Thee ? or thirsty, 
and gave Thee drink ? 

When saw we Thee a stranger, and took Thee in ? or 
naked, and clothed Thee ? 



F8ALM XCI. Sdl 

Oi' when saw we TKee sick, or in prison, and came 

nuto Thee ? 

And the King shall answer and gay unto them, Verily 
I say unto you, Inasmuch as ye have done it unto one of 
the least of these my brethren, ye have done it unto me. 

Then shall He say also unto them on the left hand, De- 
part from me, ye cursed, into everlasting fire, prepared for 
the devil and his angels : 

For I was an hungered, and ye gave me no meat : I wa« 
thirsty, and ye gave me no drink : 

I was a stranger, aud ye took me not in : naked, and 
ye clothed me not : sick, and in prison, and ye visited me 
nofc. 

Then shall they also answer Him, saying. Lord, when 
saw we Thee an hungered, or athirst, or a stranger, or 
naked, or sick, or in prison, and did not minister unto 
Thee? 

Then shall He answer them, saying, Verily I say unt« 
you, Inasmuch as ye did it not to one of the least of theit, 
ye did it not to me. 

And these shall go away into everlasting puniahmtnt i 
but the righteous into life eternal. 



PSALM XCI. 



HE that dwelleth in the secret place of the most High 
shall abide under the shadow of the Almighty. 
I will say of the Lord, He is my refuge and my fortrecs : 
my God ; in Him will I trust. 

Surely He shall deliver thee from the snar© of the fowler, 
and from the noisome pestilence. 

He shall cover the« with His feathers, and under His 



802 PRACTICAL ELOCUTION. 

wings shalt thou trust: His truth shall be thy shield and 
buckler. 

Thou shalt not be afraid for the terror by night ; nor for 
the arrow that flieth by day ; 

Nor for the pestilence tliat walketli ri darkness ; nor for 
the destruction that wasteth at noonday. 

A thousand shall fall iit th\' side, and ten thousand at 
thy right hand ; but it shall nc^t come nigh thee. 

Only with thine eyes shalt thou behold and see the 
reward of the wicked. 

Because thou hast made the Lord, which is my refuge, 
even the most High, thy habitation ; 

There shall no evil befall thee, neither shall any plague 
come nigli thy dwelling. 

For Ho shall give His angels charge over thee, to keep 
thee in all thy ways. 

They shall bear tliee up in their hands, lest thou dash 
thy foot against a stone. 

Thou shalt tread upon the lion and adder: the young 
lion and the dragon shalt thou trample under feet. 

Because he hath set his love upon me, therefore will I 
deliver him : I will set him on high, because he hath known 
my name. 

He shall call upon me, and I will answer him : I will be 
with him in trouble ; I will deliver him, and honor him. 

With long life will I satisfy him, and show him my sal- 
vation. 



INDEX. 



ilbdominal Muscles, 87. 

Accent, seat of, 89-91. 

Active i- osition, 143; advanced and re- 
tired postures, 143; examples for 
practice in the active position, ad- 
vanced, 144 ; retired, 145. 

Adam's Apple, 87. 

Adaptation, essential to correct ex- 
pression, 113. 

Adaptation of Gesture to Speech, 
169. 

Adoration (gesture), 157. 

Advanced Instruction, 188, 184. 

Affectation (facial expression), 162. 

Affliction (gesture), 157. 

Alphabetic Equivalents, 85. 

"Amidst the Mists," &c, 78 

Analysis of Language, essenvial to cor- 
rect expression, 112. 

Analysis of Principles of EHocution, 
18 ; explanation, 19. 

Analysis of the Thought, 192. 

And, how pronounced, 102. 

Anger (facial expression), 161. 

Anger (gesture), 167. 

Appeal to Conscience (gesture), 156. 

Appendi.x, miscellaneous suggestions, 
185 ; Emphasis, 186 ; miscellaneous 
vocal exercises, 187 ; laughter, 189 ; 
Bible reading, 189 ; relations of 
sound to sense, 191; transition, 191; 
analysis, 192 ; repose, 193. 

Appropriate changes of Time reflect 
Mif<«)nlr(^ 123. 



Appropriate Quantity, eeseniift) to e®^ 

rect expression, 127. 

Arm Movements, 146; their purpose 
146 ; examples for practice, 147, 14S. 

Art, defined, 193, 194. 

Articles, a and the, 102. 

Articulation, 69 ; definition, 69 ; impo? 
tanee, 69; its scope/ZO; standard of 
pronunciation, 70; Webster or Wor- 
cester, 71; exercises in articulation, 
74; how to learn to spell phoneti- 
cally, 75,76 ; words for spelling,74, 84, 
87,99,100,101 ; long and short vowels, 
78, 79 , subtonic combinations, 80,84, 
87, 88; classifications of elementary 
sounds, 80, 81 ; diacritical points,81 ; 
practical hints upon a few volee 
sounds, 82, 83; equivalents, 85, cog- 
nates, 86 ; contrasts, 86 ; seai of the 
accent, 94 96 ; prefixes, 91-94 ; termi- 
nations, 89-91 ; unaccentM vowels, 
97-99: words often mispronounced, 
99-101; recreations in articulation, 
103-111. 

Ascending Line of Direction (arm 
movements), 146 ; examples for prac- 
tice,one hand supine,loO ; both hands 
supine, 153; one hand prone, 153; 
both hands prone ; one hand vertical, 
154 ; both hands vertical, 165. 

Aspirated, 64; examples, 67. 

Aspirate combinations, 84. 

Attention (gesture), 156. 

Author's Opportunities for know^Ing 
the wants of teachers, 170. 

B following m, 101. 

"Ba-pa," &a., 7d, 84, Sfi. 87, 8& 



904 



TSSX/BSL 



Bible Reading, tS6. 

Body, movementB of, 145. ' 

Breathing, 38 ; what we breathe, S8 j | 
"Vt hy wo breathe, y>\) ; how wi' breathO) 
39 ; brealhiiig ezercisetj, 39, 40. 

Breath Sounds, 81. 

Business Life, as related to Elocution, 
22. 

Cautions (gesture), 169. 

•' Ceaseth Approacheth," &c, 79, 

Charge of the Light Brigade (gcaturel, 

Chart, Outline of Elocution, 18 ; ex- 

I lanation, 19. 
Chart of Vocal Exercises, 41. 

Chart, gesture), 141. 

CircumRex, 132; examples for practice, 
139, 140. 

Clasped Hand* (gesture), 156. 

Classification of Elementary Soands, 
80. 

Climax, 168. 

Clinched Hands (gesture), 157. 

Coalescents, 81 ; ar, er, or and ur, in- 
correctly sounded, 83. 

Cognates, 86. 

Combination Exercise in pitch, force, 
aud Kate, 128. 

Comprehension of the sentiment es- 
sential to the expression, 112. 

Conscience (gesture), 154. 

Contents, 15. 

Contrasts, 86. 

Conversation, 23; for It» own sake, 25; 
Summary, 24 ; 8Ugg»«tiong to fslu- 
dents, 24; conrersational exerciser;, 
36-29; converaatlon in its relation to 
reading, SO, 31 , analogy between It 
and reading, 30; diatinction between 
it and reading, 30; models for read- 
ing found in conyersation, 81 ^ im- 
personation, 81 ; conversation m iLt 
relation to public address. S2 ; anal- 
ogy between it and public address, 
32; distinction between it and pub- 
lic address, S2 ; illufitration, 32, 33 ; 
guide to public address, 33 ; remarks 
apon the distinction between con- 
versation and public address, 34 ; 
models for public speech found in 
pure conversation, 34 ; general sum- 
mary, S4 ; the germs of elocution I 
found in pure conversation. So, j 

Conversational Gestures, 142. | 

Conversational Slide, 131 • examples 1 
lorpra«tico,l^«137. 



Crowning Power of Expression, 131 

Crude Gestures, 139. 

Curved and Straight Lines, (arm 
movements), 147 ; gxiiding prluci- 
pies, 146 ; examples Tor practico, 148 

Definition of Articulation, 69. 

Definition of Elocution, 20. 

Defiance (facial expression), 161. 

Defiance (gesture), 157 

Descending Line of Direction, (arm 
movementjj), 152; examples forprac* 
tlce, 152; one hand supine, 152; both 
hands 8U[)ine, 152; one hand prone, 
163: both haiida prone, 153. 

Development of Voice, 38 ; its distlno. 
tiv e aim, 38 ; breathing, 38 ; breath- 
ing exercises, 39, 40 ; vocal «xerci*««, 
40,41. 

Diacritical Points, 81. 

Diaphragm, 36, 37. 

Dictionaries, 71, 72. 

Direction of Lines, whether middle, 
ascending, or deacending, 148. 

Double Gestures, 150. 

Dramatic Gestures, 142. 

Drawing Sword (gesture), 157. 

Dropping Hands (gesture), 157. 

Ear Training, 69. 

Effusive, examples, 47, 48. 

Elementary Sounds, clusiflcatl«i 
80 ; table of, 81. 

Elocution, outline of, 18 ; explanatloi:, 
19. 

Emotion and Fervor often mistake** 
for correct expression, 113. 

Emphasis, 18*5 ; capital idea, 186; subor- 
dinate idea, 186. Connections, group- 
ing, 186. 

Emphasis, Gestures of, 146; exampl64 
for practice, 147. 

Emphatic Slide, 191; examplss £m 
practice, 137, 138. 

Enunciation, 185. 

Equivalents, 86. 

Essentials of Expression, 112. 

Excess in Gesture, 169. 

Exercises in Articulation, 73-- ?8. 

Exercises in Breathing, 39; cheet, 39; 
costal, S9 ; waist. 39 ; dorsal, 89 ; ab 
domlnal, 39 ; full, 40 ; prolonged, 4fi' 
effusive, 40; expulsive, 40; explft 
give, 40, 

Exercises Pa CosversatioBal Stytea< 



Bm 



£xerelse In pitob, lbre«> and nts com- 

biued, 126. 
Explanation of Outliae of Elocution, 

19. 

Explosive, examples in, 49,50, 

Expression, 112; modulation, 118; 
quality, 113; pitch, 113; exami)lea 
of medium pitch, 114, 115; of high 
pitch, 115, 116; of low pitch, 117; 
force, 118; examples in mediam 
force, 119 ; in full force, 120 ; in sub- 
dued force, 121 ; time, 122; rate, 323; 
examples in medium rate, 123; in 
rapid rate, 124 ; in slow rate, 125 ; 
combination exercise, 126 ; quantity, 
127; examples in medium quantity, 
127 ; in long quantity, 128 ; in short 
quantity, 128, 129 ; pause. 129, 130 : 
rh*»torical combined with gram- 
matical pause, 130; slides. 181; ex- 
erciijes in slides, 132—135; in conTCr- 
0ational slides, IS") — 137; in emphatic 
slides, 137, 138 ; wave or circumflex, 
139, 140. 

Rxpulsive, examples in, 49. 

Extreme Fear (facial expression), 162. 

Extreme Surprise (facial expression), 
163. 

Exultation (facial expression), 168. 

Exultation (gesture), 156. 

Facial Expression, unimpassioned and 
impassioned, 158, 159 ; guiding prin- 
ciplea, 159; examples for practice, 
159, 163. 

FalHng Circumflex, 132. 

False Gestures, 169, 

Falsetto, 67 68; examples fbr practloe, 
68. 

Faults of Articulation, 176, 

Faults in Bible Reading, 189, 191. 

Faults of Expression, 176, 177. 

Faults of Gesture, 177. 

Faults of Voice in the 8choolrooro» 
175. 

Faulty Pronunciation, how corrected, 
73. 

Feet, position, 143. 

Finger Index, 158. 

Flourish of the Hand (gesture), IdH.) 

Force, 118; not arbitrary, 118 ; how pro- 
duced, 118 ; distinguished from noisa, 
118; examples of medium, subdued, 
and full, 119—122. 

Free Gymnastics, 54. 

Fulcrum Power of the Voice, 176. 

Pull Bre^tiHag^, examples in, 1^ 



PuM Porc«s 118; examples for praotts«s 
120, 121. 

Fundamental Principles of PablSa 
Address, 185. 

General Suggestions, (gesture;) 168. 

Qeaeral View of Elocution, 18 ; ©xjala* 
nation, 19. 

Gesture, 141; outline, 141; eonrersai- 
tional gestures. 142 ; oratoricaJ ges- 
tures, 142 ; dramatic gestures, i4J2; 
position, 143'; examples for pi'actice 
in the various positions, 144 ; move' 
ments of the body, 145; head, 145; 
arm, 146; examples for }?ractJce, 147; 
lines, 147; guiding principles, 147; 
position of hand, 149; examples for 
practice, 150 ; lower limbs, i57 ; in- 
dex finger, 158 j facial expression, 
158; guiding principles, 1^9; unim- 
passioned facial expression, 159, 160j 
impassioned, 160: reverence, pathos, 
joyousness, 160; secrfH'y, indignant 
command, anger, defiance, resigna- 
tion, sadness, grief, extreme surprise; 
161 ; hatred, extreme fear, jealoufiy 
triumph, affection, hunger, 'and sad 
ne3s,_scorn, 162; terror, revenge, ex- 
ultation, 163; miscellaneous exer 
clses, 163—168; general suggestions 
168 ; cautions to be observed, 169. 

Gesture a Supplement to Speech 
141. 

Gestures, conversational, 142; dramatic, 
142. 

Gesture, General Suggestions, 168 ; not 
arbitrary, but subject to certaiia nat^ 
ural laws, : special exercises, 156 
—158. 

Gestures— of emphasis, 146; examples! 
for practice, 147; of illustration, 146; 
examples for practice, 247; of loca- 
tion, 146; examples for practice, 147$ 
oratorical, 142. 

Graceful Carriage, 

Grammatical Pause, 129. 

Grief, (facial expression,) 181. 

Grouping, 186. 

Guide to Public Address, S5. 

Guiding Principles in facial exprea« 
sion, 159 ; in the use of the lower 
limbs, 157, 158. 

Guttural, 64 ; examples in, 65, 66. 

Gymnastics, 54 ; Free Gymnastic*^ 
First series, 54 ; second series, 65 ; 
explanation of first series, 55, 57 , ex- 
planation of second series, 57, 58; 

Hand, Position of^ 

Hatred (facial expression), |@S. 



806 



vKtaau 



long and short 



" He adds fourths, fifths/* Sm., 88. 

Head movements, 145. 

Heart (gesture,) 156. 

High Pitch, 114; examples for practice, 

115, 116. 

How t© Corroct faulty pronunciation, 

T6. 

How to learn to Spell phonetically, 75, 

76. 
How to master the 

vowels, 78. 
Hunger and Sadness (facial exprcs- 

eiuu), 162. 
Illustration, gestures of, 146 ; examples 

for pr&'jtice, 147. 
Impassioned Facial Expression, 159; 

examples for practice, 160 — 168. 
Impersonation, lS)(e 1, 31. 
(mportance of Articulation, 69. 
Importance of Elocution, in physical 

developmeut, 21; in social life, 21; 

in business life, 22 ; In public life, 

22. 

Importance of Vocal Culture, 172. 

Impure Qualities of Voice, 63, 64 ^ ex- 
amples, 64, 68. 

Index Finger (gesture), 168. 

Indignant Command (facial expres- 
sion), 161. 

Influence of the human voice, 172. 

Instruction, methods of, 170. 

Instruction (primary and advanced), 
180, 184. 

Intense Thought (gesture), 156. 

Intermediate or Fifth a incorrectly 
sounded, 82. 

Italian a incorrectly sounded, 82. 

Jealousy [facial expression], 162. 

Joy [gesture], 156. 

Joyousness [facial expression], 160. 

Language of the Bible, [fruitful iu 
meaning, hence difScult to read], 
189. 

Larynx, 37. 

Laughter, 189. 

Lines straight and curved, in arm 
movements, 147; guiding principles, 
147 ; examples for practice, 148. 

Location, gesture of, 146 ; Examples for 

practice, 147. 
Long and short vowels, sfbow to mas- 
ter them,) 78. 
'*ong Quantity, 127 ; examples I6r prac- 



Long Uf inoorreetty townded, 81. 
Lower Limbt (guiding priuclpl«r, 

157, 158. 
Low Pitch, 114 ; examples for pra«tlc«^ 

Lungs, 36, 87. 

Magnetic Connection of words, 183. 
Meaningless Gestures, 169. 
Medium Force, 118; examples for pra» 

tice, 119. 
Mftdium Pitch, 114. 
Medium Quantity, 127 ; examples foi 

practice, 127. 
Medium Rate, 123; exam nlw for prac 

tice, 123, 124 
Mental Suffering [gesture], 156. 
Methods of Instruction, 170; theory 

of teaching, 170; importance, 172; 

faults, 175 ; outline of methods, 180 ; 

primary instruction, 180, 183; ad- 
vanced instruction, 183,184. 
Middle Line of Direction, (arm move- 
ment) 148; examples for practice,150; 

one band supine, 150; both haada 

supine, 150 ; one hand prone, 153 ; 

both hands prone, 153 ; one hand 

vertical, 154; both hands vertical, 

155. 
MiRcellaneous Exercises in gesture 

163—168. 
Miscellaneous Suggestions for read* 

ing and speaking, 185, 186. 
Miscellaneous Vocal [Exercises, 187, 

188. 
Modulation, 113. 
Monotony, how avoided, 122, 123. 
Movements of the Body, (head, arm 

lower limbs,) 145, 146. 
My, [how pronounced], 102. 
Nature, a proper study for attitude and j 

action, 168. 
Negative Language requires suBtaine^ 

voice or rising slide, 132. 
Noise and physical violence dlstij* 

guished from force, 119. 
Objects to be attained in gesture, 169. 
Observation of Characters in puintinf 

and sculpture recommended for at 

titude and action, 168. 
Oratorical Gestures, 142. 
Orotund Voice, 60; examples, 61 — 68 
Outline of Elocution and analysis o 

principles, 18 ; explanation, 19 
Outline of Gesture, 141. 
Outline of methods of ^ostructlon, ISa 



9lMlve Poslltott, HHi «K«aipIea for 
practice, 144. 

Pause, 129. 

Pectoral, 64; examples in, 64, OS. 

Position [gesture], 156. 

Philosophy of Voice, 86. 

Phonetic Spelling, how to begia, 75, 
76. 

Physical Developmeat as related to 
elocution, 21. 

Physical Exercise essential to yocal 
development, 38. 

Pitch, 113 ; not a rolitlon of the reader 
or speaker, but a demand of the sen- 
timent, 113; how produced, 114 ; 
examples of medium, high and low, 
46. 

Pope's Rule applied to pronunciations 
71. 

Position of Feet, 143. 

Position of Hand, suptQe, prone, ver- 
tical, 14n; examplea for practice, 
156, 156. 

Position, paisire and active, 14S. 

Positive Language requires downward 
slide, 131. 

Posture or Position, 143. 

Practical Hints upon a few voice 
sounds, 82, 83. 

Practice against inclination and nat- 
ural taste, 186. 

Practice frequeatly, but not when 
weary, 185. 

Prayer (gesture), 156b 

Preface, 9. 

Prefixes, fcl, 94; prefix a, 91; bi, tri, 
chi, cli, cri, pri, 92; i and y in 
first syllables, 92 , n in prefix con, 
92, 93'; o equivalent to short u, 93 ; 
prefix ex, 93; prefix dis, 93; s in- 
correctly sounded, 93; prefix with, 
94, 

Primary Instruction, 180, 18S. 

iPrinciples, 35. 

'Prone Hand, 149; exangiples fo* prao- 

tice, 154. 

Pronunciation, the standard of, 70. 

Public Address, as related to conver- 
sation, 32 ; guide to public address, 
S3; models found in pure con- 
versation, 34. 

Public Life as related to Elocution, 22. 

Pure Qualities of Voice, 59, 60 ; exam- 
ples, 60, 62. 

Quality, 59- pure quality, 59, 60; ex- 
flmples in simpie pure quality, 60, 
61; inorotttad, 61, 68; Impore quiX* 



ttf , 08 ! p@«toTaI, €4 ; gsttu?e!, 34v 

■ " ■ o,67, 6^; 



aspirated, 64 ; falsetto, 

plea In pectoral, 64, 65 ; in gu^.feral, 

65, 66; in aspirated, 67; in fatetto, 

68. 

Quality of Voice, as an element of e£« 

pression, 113. 
Quantity, 127. 
Quick Pretention and prompt and 

graceful changes of voice essential 

to correct expression, 113. 
Quintillian's estimate of the face as an 

element of expression, 169. 
R, sh and w, before long u, 8S. 
Rapid Rate, 123 ; examples, 124. 
Rate, 123; examples of medium, fast 

and slow, 123-126. 
Reading as related to conversation, SO. 
Recreations in Articulation, 103, 111. 
Relative Emphasis of the leading and 

subordinate ideas in a sentence, 18«, 
Remedy for faults of voice, &c., in the 

schoolroom, 177, 179. 
Repose, 169, 193, 194. 
Resignation (facial expression), 161. 
Respiration, S9 ; nostrils should be 

used, 39. 
Revenge (facial expression), 163. 
Reverence (facial expression), 160. 
Rhetorical Pause, 129 ; examples, 1291 

130. 
Rising Circumflex, 132. 
S and sh followed by long u, 102. 
Sadness (facial expression), 161. 
Scorn (facial expression), 162. 

Sculpture and Paintiag as a study ten. 
attitude, 168. 

Seat of the Accent, 89. 92 ; a syllable, 
89; monosyllable, dissyllable, triayl* 
lable, polysyllable, 89 ; ultimate, pe- 
nult, antepenult, preantepenult, 89; 
words of two syllable, 89; of 
more than two syllables, 90; Eng- 
lish derivatives, 90 ; words from 
the Latin and Greek, 90 ; from the 
French, 91; words used antitbeti' 
cally,91. 

Secrecy (facial expression , 161. 
Sentin? ent and characterization, 185. 
Sh inc/rrectly sounded, 101. 
Short o incorrectly sounded, 82. 
Shor . Quantity, 127 ; examples, 128, 

/ t9. 
Simple Pure foiee, 69 , exaaaplsa, 60^ 



90$ 



vnxL* 



BlldM, 181 ; opwardf^ 191 • doirnvftrd. 

131 ; wave or circumflex, 132. 

Slow Rate, 123 ; examples, 125, 126. 

Social Life, as related to elocution, 21. 

Soul Power, of spoken language, 112. 

Sound to Sense, 191. 

Special Exercises in Gesture, 156-158. 

Speech, 35; speech and gesture the two 
great mediums of thought, 36 ; its 
subdivisions, 35. 

Standard of Pronunciation, 70. 

Straight and Curved Lines, arm move- 
ments, 147 ; guiding principles, 147 ; 
examples, 148. 

Subdued Force, 119; examples, 121, 
122. 

Subtonic and Aspirate Combinations, 
87, 88. 

Subtonic Combinations, 80-84. 

Supine Hand, 149; examples, 150. 

Sustained Force, examples, 61, 52. 

Swell, examples, 60,51. 

Sympathy with the sentiment neces- 
sary to correct expression, 112. 

T in tie suppressed, 101. 

Table of Contents, 15. 

Table of Elementary Sounds, 81. 

Table of Vocal Exercises, 41; expla- 
nation of table, 42, 43. 

Terminations, 94, 96 ; en, 94; el, 94; 

ed, 95; ine, 95 ; on, 96; il, 96; in, 

96; ain, 96. 
Terror [facial expreseion], 163. 
Th, Vocal and Aspirate, 101. 
The Face a mirror of the emotions, 158, 
Theory of Teaching, 170-180. 
time, 122; a demand of the sentiment, 

and not a caprice of the reader or 

speaker, 114. 

time and Toil, 160. 



j Transition, les, IW. 
Tremor, examples, 52, S8. 
Triumph (facial expression), IH 

Triumph (gesture/, 156, 

Unaccented Vowels, 97-98 ; tendencies 
of longa, long e, short e, short a, ItaJ« 
ian a, intermediate a, long o, short 
e, coalescent ar, er, or, 98 ; Italian 
a. followed by r, long oo, 99 ; caution 
in reference to Worcester's mark, 
99. 

Unimpassioned Facial ExprcMion, 

159 ; examples, 159, 160. 
Union Sounds, 81 
Utterance, 37, 38. 

Vertical Hand, 149; examples, 166. 
Vocal Cords, 36, 37. 
Vocal Culture, its importance, 172. 

Vocal Exercises, 40 ; table of , 41 ; ex- 
amples in Natural, 44 ; in full force, 
4o ; in high and low, 46, 47 ; in effu- 
sive, 47, 48 ; in expulsive, 49 ; Ib ex- 
plosive, 49, 50; in swell, 50, 51; in 
sustained force, 51, 62; in tremor, 
52,63 ; in full breathing, 53, 

Voice, 35; philosophy of, 36 ; utterance 
37; development, 38; vocal exer- 
cises, with table and explanation, 
40—43, 

Voice Sounds, 81, 

Vowels, when not under the accent. 
97—99. 

Ware, 131. 

Wave of the Hand (gesture), 156. 

Webster or Worcester, 7L 

"What whim," Ac,, 77. 

Wonder (gesture), 158. 

Words for Spelling, 77, 84, 87, 99, lOL 

Words often mispronounced, 99-101> 

Wrapping Drapery (gestare), 167. 

WriogiDg Hands (geators), 167. 



' ONE HUNDRED 

Choice Selection,/ 

Edited by Phine&s Gaoreit 
^O 3MUIv!be:rs rsjovs/ reaov 



IF YOU WANT 

§k»m«thing New to Re&.d in Public 

The Choicest Selections for Home or School Use 

Refined Humor, Dialect, Sentiments, cn^ Witticisms 
Oii^al Dramas for the Parlor or Amateur Cluk 

iMT'a^C COMPLETE REVISED SSTRICS OF 

ONE HUNDRE D CHOICE SELECTIONS 

The editor, whose close association for many years 
mth the most eminent public readers, elocutionists, and 
dramatic writers, affords him unsurpassed facilities for 
securing the most effective pieces, has here drawn from the 
unbounded resources at his command the material which 
has made this series of readings and recitations one of thd 
most popular ever published. 

Each number contains one hundred different selections 
comprising the largest variety and suited to every con- 
ceivable occasion. Nothing in the entire series is repeated. 
Many of the recitations were written especially for these 
books, while others are used only by special permission of 
the authors or publishers. 

At the close of each volume will be found a dramatic 
supplement comprising original comedies, farces, temper- 
ance dramas, musical sketches, and other interesting exer- 
cises adapted to home and school use. There is also a 
collection of rare literary gems, brief witticisms, conim- 
drums, waifs, smiles, etc., suitable for roll call, responses, 
encores, and social pastimes. 

The contents of all the numbers of this series are 

appended. Each number contains from 216 to 240 pages. 

They are for sale by all Booksellers and Newsdealers, 01 

vill be sent prepaid to any address upon receipt of price* 

Paper Binding, each, ... 40 c^nts 

Clotl! «' «^ » . . 7S cents 

THE PENN PUBLISHING 

COMPANY PHILADELPHIA 



ONB HUNDRED CHOICE SELBCTIONS— Nc. 2J 



As tha Pigftott Fliea 

A*BW6red Prayers 

At the Oratorio 

Bachelor's Growl, A 

Bijah's Skory 

Boy to the Schoolmaster, 

The 
By the Sea 

Bey'i EgBay on Girls,' A 
Bslshaxzar'B Downfall 
Cartain-tixtnre, The 
Clown's Baby, Th« 
Domastio Economy 
Discipline 

Dsath and the Grave 
Devil, The 

Dr. Tina»ie'8 Cue a Cure 
Deotmy Jake 
JDeath of King Conor Mao 

Nessa 
Inchanted Shirt, Tha 
Endless ProcsssiuB, Tha 
'Xn^ueers Making Love 
Easy VfiU, The 
Fate of Mae;^egor, The 
Grandeur of the Ocean, The 
Grandmother's Bible 
Good-bye, Old House 
Gambler's Last Daal, The 
How 'Randa went Over the 

River 
How Gushing Destroyed the 

Albemarle 
His Last Court 
Hnldy'g Pumpkiix Piae 
Higher 



Hat, The 

Incomplete Revelation, An 

Initiated Tramp, An 

In the Catacomlie 

John Jones and I 

Jauiie 

Just Rotribntion, The 

Justice in Leadvilla, 1878 

Katrina's Visit to Now York 

Kathie Morris 

Little Maud 

Lake Saratoga 

Lightning Story, A 

Legend of Innisfallen. A 

Little Brown Curl, The 

LnlUbr 

Miltiades Gets the Best of 

Santa Claus 
Midghipmite, The 
Mosas oa Pisgah 
Missionary Ilrmn, The 
My Mother's Song 
Night in Eden 
On the Frontier 
Old Actor's Story, The 
Old King Cole 
Old Caateen, The 
Only a Drunkard 
Old Soldier Tramp, The 
Old Reading Class, The 
Our Gunner's Shot 
Orercometh 
Prince's Feather 
Paddy's Lament 
Poet's Funeral, The 
Prinoess aad the Kabbi, Tke 



Proniaed lA&d Te-morrow 

The 
Passions, The 
Pat and the Pi? 
Pilot, The 
Ring's Motto, The 
Seng of the American Eagle 
Sunday Fishin' 
Siren's Wedding Ring, Tba 
Soldier's Cradle Hymn, The 
Spring Honse-cleaaing 
Sixteen and Sixty 
Street Gamin's Stor of tfae 

Play, A 
Still Waters 
SohoolboT's Apples, ' 
Saving the Cider 
Schonny Schwarti 
Substitute, Tlu 
S'^osin' 

Time's SoliloqMj 
Thay "VTant a^l1«himk 
Two 

Thoughts on Immartfc^tWT 
There ara None 
Too Zealous by Half 
Things that Never Dlo 
Teaching Uin the BndmeM 
Tides are Rising, The 
Uncla Ike's Routtars 
What I Live far 
Widow's Son Bestorad ta 

Life, Tha 
Wiped Out 

Willie's Signal for Ja«u 
Welih Clauia, A 



ONE HUNDRED CHOICE SELECTIONS— No. 34 



Baltiy and I are Ondt 

Bridal in Eden, The 

Ballad of Cassandra Brewn 

Brave Boy, A 

Baby in Chureh 

Boy Hero, A 

Childless 

Consider the Lilies 

Christ and the Little On«s 

Contrast, A 

Depot Incident, A 

Dying Child, The 

Death of the First-born 

Earth's Angels 

End of tha Way, Tha 

Elian McJones Aberdeen 

Emancipation of Man, The 

Forward 

Ponaiaring of the Dalpkin 

From tha Wrack 

Fra Giaeamo 

From Hand to Mouth 

First Clond, The 

Growing Old 

Grandfather's Hov>« 

Gunn's Leg 

Gowans Under her Feet 

<}ottingen Barber, The 

God Knows 

Groves of Blarney, The 

Goody Blake and Harrv Gill 

Go Vay, Eeeky Millar, Go 

Vay 
Bow a Blacksmith was Con- 

Terted 
fielp me Aorass, Pftpa 



Henry the Fifth's Waoiag 
Home 

Hearts Charity, The 

I Wonder 

Judge of BellinKona, The 

Jack Hopkins' Story 

Life-boat, The 

Lessons 

Lord's Prayer Illuttrated, The 

Little Jim 

Landlord's Virft, Tha 

Legend, A 

Love of his Life, Tha 

Mountains 

Movement • Cnre for Rhaii- 

matisa, Tba 
Mixed Relationship, A 
Midnight Charge, The 
Marjory May 
Mrs. Jones's Lodgor 
Maid of Orleans, Tha 
Mr. Piper's Mittens 
Not so Well Acquainted 
Ninety-Eight 
One-legged Gooao, Tha 
Old Methodist's Testimony, 

The 
Out and Into 
Old W^oman's Complaint, 

An 
OrphouB and Eurvdlee 
Old and the New," The 
O'Branigan's Drill 
Peculiar Neighbor, The 
Pauper Girl, The 
Potter's Field, The 



Parades of Time, TIm 

Pompeii 

Penning a Pig 

Put Yourself in Her Plaea 

Railraad Crossing, Tha 

Robert Bruce and the Spidar 

Raindrops, The 

Repartee 

Story of Soma Balls, Tha 

Song af the Forge, Tha 

Sermon in Rhyme, A 

gemehew 

Station Master's Story, The 

Schneider's Tomatoes 

Smoked Ameriean Theology 

Sal Parker's Ghost 

Thief on tha Croaa, The 

Tribulations af Siddy Ma» 

lone, The 
Two Weavers, The 
Trouble with the Steward 
Trundle-bed Treasure* 
Tommy's First Love 
TroHble Borrowers 
Useful Precepts for Girl* 
Unwritten Poems 
Wrong Road, The 
What is Heavn? 
Wife's Appeal, Tba 
Whims 

What the Little Girl ftald 
When tha House is Alone br 

Iteelf 
Tear's Twelve Childrea, 

The 
Year's Wooing A 



ON^ HUNDRED CHOICE SELECTIONS—No. a^ 



Attgry Words 

Arabella, aud Sally Ann 

Abaer and the Widow Jones 

Apostrophe to tha Oyater, An 

Blowing Babbles 

Biddy O'Brien has the Tootk- 

ache 
Border Land, The 
Ballad of War, A 
Book Canvasser, Tlia 
Becalmed 

Batile of iBkerraan, Tha 
Beyond 
Brother Ben 
Bold Dragoon, The 
Beautiful Gate, The 
Christmas Blessing, A 
Drunkard's Wife, The 
Drunkard's Thirst, Tli« 
Don't Use Big Words 
Defence of Xantippe, A 
Death Bridge of the Tay 
Educational Courtship 
Four Knights, The 
Farmer and Wheel ; or. The 

New Loohinrar 
Friend of the Fly, A 
Faded Flowers 
Flirtation 
Fire ! Fire ! 

Fate of Charlotte Russe, The 
Girl of the Period, A 
Grace Darling 
Hannibal ok the Alps 
How Mr. Smiggles went to a 

Pnblio Dinuer 



His Garments Got Turned 

How Jimmy Tended the Baby 

Hero Woman, The 

Hew to Choose a Wife 

In the Tunnel 

Ideal India, The 

Kitty's Prayer 

Kate 

Land of the Afternoon 

Last Charge, The 

Life's Journey 

Life 

Love, the Best Monument 

Lady Gay Spanker 

Lesson from a Bell, A 

Little White Hearse, The 

Little Fireman, Tha 

Mr. Jonathan Bangs 

Man Who Apologized, Tha 

Moll Jarris O'Morley 

Miss O'Mulligan takes a Bi- 

eycle Ride 
Modern Shakspeare, The 
Merchant and the Book Agent, 

The 
Nature Prayer, A 
New Story, The 
Napoleon's Overthrow 
No Kiss 

N&9 star was Glintin' 
Old Sohoel House, Tha 
Old Arm Chair, The 
Old Oaken Bucket, The 
Outside 
On the River 
Oa tlae Beaeh 



Praying for Pap« 

Precmstes' Bed 

Perfect Man, Tho 

Rest 

Sacrilegious GamesterB, Ti» 

Switchman's Ktory, The 

Shepherd Dog of the Pyrenees 

The 
Song of an Old Dellar Bill 
Story which the Ledger Told 
Sunset 

Saved by a Eattleenake 
Shacob's Lament 
Speeeh of Patrick Henw 
Singer and the Child, The 
Snow, The 
Six Love Letters 
Sympathy 

Strange Harvest, The 
Smack " Out " of Soheol, 1k« 
Supporting the Guns 
This Old World of Ours; 
Two Champions, Th« 
Three Parsons, The 
Time's Silent Lessoa 
To My Lore 
Three Naiarites, Tke 
Tale of a Tadpole, Tk« 
Tommy's Prayer 
Unfinished Mannscript, Tl»» 
Women of Mumbleg Bead, 

The 
What a Thirty-ton Hamme* 

Can Do 
We're Building Two a D^ 
Tear in Paradise, A 



ONE HUNDRED CHOICE SELECTIONS— No. 36 



All the Children 

^tnea the Martyr 

All About the Weather 

Arraignment of Rom, The 

Abigail Becker 

Awkward 

Be Trno 

BiUet-DoHX, A 

Bad Cold, A 

Brudder Brown on "Apples" 

Cobbler af Lynn, The 

Composition, The 

Conviet'g Soliloquy, The 

Dan's Wife 

Doetor and the Lampreys 

Englishman's Sea Dirge, An 

Elsie's Child 

End of King David, The 

Fra Fonti 

French fey Lightning 

Foolish Little Maiden, A 

Farmer Stebbins on RolleTa 

Give U8 Men 

Gabe's Christmas Eve 

George Lee 

Flour of Horror, An 

He Qiveth Sleep 

Haunted Smithy, The 

Home 

inventor's "Wife, The 

Island of Home, The 

Irishman's Perplexity, An 

Tjost on tho Shpjre 

3^d iff iB«.s!et«i, W»o 



Little Fritz 

Little Tee-Hee 

Life's GaKie of Ball 

Last Look, A 

Life 

Larrie O'Dee 

Letter H, The 

Laonidas 

Lament of the Greek Womea 

Legend of St. Christopher 

Me and Bill 

Mother's Daring, A 

Me and Jones 

Martyrs of Uganda, The 

Not in the Programme 

Ntttting Expedition, A 

Now I Lay me Down to Sleep 

Noble Stranger, The 

Nottman 

Overflow of Great River, The 

Only 

Our Debating Club 

PeBzled 

PefisimisMe Fhllosopker, The 

Poetry of Science, The 

Pauper's Revenge, A 

Paddy's Courting 

Pat's Mistake 

Praying fnr Shoes 

Quarrel, The 

Quarrel of the "WTieels, The 

Road to Heaven, The 

Rwm Enongh for AH 



Railway Chase, Tho 

Silver Cup, The 

Scandal 

Shall We Meet Agalaf 

Sunrise Among the Hills 

Scene from " Richelieu " 

Sentinel of Mctz, The 

Schoolboy ea " Corns," A 

Serenade, A 

Thou Knowsst Beat 

There'll he Room in Heavda 

Town Pump, The 

Two Cities 

Then and Now 

Three Cherry Stoaea, Thd 

Taste it Not 

Ten Pound Tea 

Unspoken 

Unfaithfulnese 

Valentine, A 

Vigilaata, The , 

Way ©fthe World, The 

Weather in Terse, 'the f 

Walrus and Carpenter, The \ 

Who Rules the Houeehold f ^' 

Washerwoman's Friend, The 

When Greek Met Greek 

Western Artist's Ac«empllsb- 

ments, A 
Word for Cranks, A 
Willie Clark 
Why Ben Schneider 9««liod 

for prohibition 



ONE HUNDRED CMOUCE SEl ^CTIONS—No. 97 



Advance of Science, The 

Air Castles 

Angel, The 

Banging a Scneational Xor- 

elist 
Barney O'Linn'g Leechea 
Billy K. Simes 
Borro-vred Baby, The 
Burdock's Music-box 
By Special Requeet 
Charity Collector, The 
Chiokeas Come Home to 

Roost 
Churoh Fair, The 
College "Oil Cane" 
Creation of Man, The 
(Crippled for Life 
(Defiled 

Der Oak und Der Vine 
Der Vator Mill 
Duty 

Ere the Sun Went Down 
Facts Concerning "Jay 

Gould" 
Father's Counsel, The. (A 

Temperance Dialogne) 
Fence o' Scripture Faith, The 
Foreign Views of the Statue 
Forever 

Four Brothers, The 
Gallant Wescue, A 
Ganges, The 
Genius 

Getting Up [The 

Ghost of an Old Continental, 
God's Country 
Otm* Vernon Bussell 



Grandma's Shamrocks 

Happy Couple, A 

Hostage, The 

How Girls Study 

" I Cannot Turn the Key and 

my Bairu Outside" 
If I Should Die To-night 
In Vanity Fair 
Junipero Serra 
Kiss Deferred, The 
Knightly Welcome, A 
Labor 

Law Agin it, A 
Lead vi lie Jim 
Legend of Crystal Spring 
Legend of Kalooka, The 
Light from Over the llange. 
Little Carl [The 

Little Turncoats 
Lizzie 

Love is Over All 
Mahmnd and the Idol 
Marco's Death [The 

Masterpiece of Brother Felix, 
Midnight Mass, The 
Minister's Grievances, The 
Mizpah 

Mother's Doughnuts 
Mouse, The 
Mustered Out 

My Boy Fritz. (A Duologue) 
Nameless Guest, The 
Nothing for Use 
Number Twonty-five 
Original Love Story, An 
Our C'lumbus 
Our Lives 



Outla'T, The 

Praysi. i- Battle, The 

Prime ofLfle, I'lir, 

Priscilla Prim on Wom»a"i 

Bight*! 
Public Worrier, Th«. (An 

Uproarious Faro«) 
Purpose 
Renyi 

Rival Singer, Th« 
Sand Man, Th« l 

Scene from "Leah." (Drft* 

ma) , 

Sealed Orders 
Soft-hearted Bill 
Soldier's Offering, A 
Soldier Tramp, The 
Sound the Reveille x 

S'posin' a Case [TbV 

Statue of Liberty UnToUad, , 
Storm at Sea, A 
Story of a Bedstead, Tha ' 

Stray Sunbeam, A 
Supers 
Timber Line 
Timothy Grey 
Too Many of We 
Traitor Sea, The 
Turning the Points 
Watchman's Story, A 
What Men Have Not FaocM 

For 
Yes, I'm Guilty 
You Must be Dreaming. (J 

Capital Farce) 
Young America 



ONE HUNDRED CHOICE SELECTIONS— No. ad 



American Eagle, The 

Annie Pickens 

Barnvard Melodies 

Bill Nve on Hornets 

Bob Johnson's Visit to the 

Circus 
Bonnet for My Wife, A. (A 

Sparkling Comedietta) 
Bores, The 
Bniiard's Point 
Case of Pedigree, A 
Composite Maiden, A 
Convict Joe 
Court of Berlin, The 
Dead I Name Unknown 
Deadly Weapon, A 
Death of Bill Sikes, The 
Debating Society, The 
Dar Coming Man 
Devotion to Duty 
Dew-Drop Inn, The. (A 

Temperance Dialogne) 
Discovery of San Franeiseo 

Bay 
Don Crambo 
Drive On ! Drive On! 
Easter Poem, An 
Eunice 

Falling In and Falling Out 
Fall of Jericho, The 
Fiad Your Level 
Get Acquainted with Yoor- 

self 
Good-bye, Old Churoli 
Gram of Tmth, A 
Happy Family, A 



Her Wedding 

Hint, A 

His Mother's Cooking 

His Riches 

Hold Fast to the Dear Old 
Sabbath 

How the King Lost his 
Crown 

Idiot's Gallantry, Aa 

Jealous Wife, The 

Jerusalem, the Beautiful 

Jim, A Hero 

Kiss in the Dark, A 

Kiss Me, Mamma, I Can't 
Sleep 

Kittens and Babies 

Little Johnny on Owls 

Low-backed Car, The 

Margaret's Guest 

Masque, The 

Miller's Maid, The 

Mrs. Murphy's Cake Reoipe 

My Little Bo-Peep 

My Lover 

New Declaration of Independ- 
ence, A 

New- Year Ledger, The 

Night-watch, The 

Number 999 

Obstinate Music Box, The 

Old House on the Hillside 

Old Man's Idyl, Au 

Only u Song 

Only True Life, The 

On the Prairie 

Parson's Vacation, The [The 

]Pwil of tbo Passenger Train, 



Peter Klaus 

Poetical Courtship 

Prince's Hunting, Th* 

Queen Vashti 

Rajput Nurse, A 

Rarest Pearl, The 

Rose of Avondale, Tha 

Saved 

Schake tind Agers 

Shall Bess Come Hame7 

Shouting Jane 

Simple Church, The 

Since She Went Horns 

Sleepy 

Slim Teacher of Cramb«rry 

Gulch, The 
Spirited Object Lesson, A 
Story of Little Moses, The 
Story of Rebekah, Tha 
Strange Request, The 
Street Tumblers, The 
Swallowed Frog, The 
That Fire at the Nolans' 
Three Sunbeams 
Three Trees, Tha 
To-morrow 
Troll Man, Tha 
Twenty-one To-day 
Village Scare, The. (A C5oi» 

edy for Young Folks) 
Visit to Hades, A 
Voiceless Chimes, Tk« 
Waiting for the Galleon 
What I Said 
What is Home? 
What the Diver Saw 
W»ia»B'8 i«B^ A 



ONE HUNDRED CHOICE SELECTIONS-^ No. i^ 



Altoer's Second Wife 

Araliaa's Arrival. (A Dia- 
logue) 

After the Battle 

Ana? Hathaway 

As Jicob Served for Kaohel 

Bell ()f the Angels, The 

Bible, The 

Bit i>f Shopping for the 
Couitry, A 

Brighi Hours 

Bridg«keeper's Story, The 

By the Cross of Monterey 

Cabman '« Story, The 

Clear Cise, A 

Colonel's Orders, The 

Daniel Periton's Ride 

Dignifieo Courtship 

Domestic Mutual Improve- 
ment 

Duel Sceie from "The Rivals" 

Dynamittr's Daughter, The 

Engine Driver's Story, The 

Eureka 

Fairy Tale, A 

Kreman's Wedding, The 

Foundationi 

French Aciount of Adam's 
Fall 

Game of Chess, A. (A Farce) 

Granddad's Polka 

Grant 

How Columbus Found America 

How Marriige is like a Dev- 
onshire Lane 

How Mickey got Kilt in the 
War 



How Mose Counted the E'jgs 

Hugh Gordon's Iron Mill 

Huskin", The 

I Wonder Why 

If it was Not for the Drink 

In the Same Line 

Jaqueliae 

Joe Striker and the Sheriff 

John of Mount Sinai 

Journey of Life, The. (A 
Dialogue) 

Jnberlo Tom 

Legend of St. Freda 

Little Jo 

Little Sister of Mercy, The 

Mad Anthony's Charge 

Mary Ann's Escape 

Marriage of Cana, The 

Message from Bony, A 

Mountain and the Squirrel 

Mr. Bowser Takes Precau- 
tions 

Mrs. Browlow's Christmas 
Party 

Nearing Home 

Nearer to Thee 

Night Ride on the Engine, A 

Not Willin' 

Ocean's Dead, The 

Old Man's Story, An 

Old Organ, The 

Old Tennant Church 

Only a Smile 

Orthography 

Pat's Wisdom 

Penn's Monument 

Perfect Faith, A 



Pilot's Bride, Th« 

Reason Why, The 

Rest for the Weary 

Retribution 

Rodney's Ride 

Sable Sermon 

Sandman. The 

Scipio 

Seer and Dreamers, Tbe (J 

Dialogue) 
Selling the Baby 
Sent Back by the Angtla 
Shoutin' 
Simple Sign, A 
Somebody's 
Song of the Oyster, A 
Speak Gently 
Starry Flag, The 
Story of Faith, The 
Strauss' Boedry 
Swell in a Horse-oar, Tkm 
That Autograph Sale 
Then and Now 
Timely Hint, A 
Tsar Oleg 

Unpardonable Siu, Tha 
Up Thar, Behind the Sky 
Vacation Fragment, A 
Vas Marriage a Failure ? 
Venice of the Aztecs, Th« 
Washington 
We all Like Sheep 
What Drove Me into a L* 

natic Asylum 
What One Boy Thinks 
Wooing of the Lady Amabd, 
World, The 



ONE HUNDRED CHOICE SELECTIONS— No. 30 



Aa it Is in Heaven 
At the Stagfi Door 
At the Tomh of Napoleon 
Auctioneer's Gift, The 
Aunt Melissy on Boys 
Bioycle Ride, The 
Brave Woman, A 
California Flea, The 
Challenge, A 
Cherished Letters 
Chinese " Maud Muller " 
iJhoir's Way of Telling It, 

The 
Christ Calming the Tempest 
Christmas a Hundred Years 

to Come 
Dark Forest of Sorrow, The 
Davy and Goliar 
Deacon, Me and Him, Th» 
Deakin Brown's Way 
Death's Triumph 
Debatin' S'oiety, The 
Der Deutscher's Maxim 
De Quiney's Dead 
Dog and the Tramp, The 
Don Pedro and Fair Inez 
Drum, A 

Eloquence of O'Connell, The 
Enemies Meet at Death's 

Door 
Fathoming Brains. 
Flag the Train 
Gambler's Tale, The 
Germs of Greatness 
xtoria Belli 
vroing on an Errand 
tJAod. The 



Grumble Corner and Thanks- 
giving Street 

Harvest, The 

Her Vision 

His Sweetheart's Song 

How the Bees came by 
their Sting. 

How the Fifty-first Took the 
Bridge 

Hunchbacked Singer, The 

In the Dime Museum 

It was All a Mistake 

Lady Maud's Oath 

Little Worries 

Loom of Life, The 

Lost on the Desert 

Lotty's Message 

Make Room in Heaven 

Man for the Hour, The 

Memories of the War 

Men who Do not Lift, Th« 

Midnight Tragedy, A 

Mother's Tinder Falin's, A 

My First Singing Lesson 

Mysterious Guest, The 

Nicknames of the States 

Oh, No, of course Not. 

Old Friends 

Old Letters 

Ould Docther Mack 

Out at Sea 

Parrot in a Deacon's Meeting 

Parson Policy 

Pat's Secret 

Pattin' Juba 

?«^ Adair 



Pink Perfumed Note, A (A 

Comedietta) 
Please, Preacher Man, can t 

go Home ? 
Presto Chango 
Procrastination 
Pussy Wants a Corn«e. 

(A Comedietta) 
Right Living 
School Episode, A 
Sermon on Life, A 
Shepherd's Story, The 
Sherman's March 
Signing of Magna Charta, Tlw 
South Fork 
Star-Gazing 
Starless Crown, The 
Sword, The 
Swore Ofif 

Teetotaler's Story, A 
Temple of Living Ma«on» 
Thankful Parson, A 
True Story of a Brie Cheesa 
Two Chimneys, The 
Uncle Edom and the Yanked 

Book Agent i 

Uncle Podger Hangs a Pio> 

turo 
Views of Farmer Brovm 
Volunteer Organist, Tha 
Waiting — At the Chair* 

Door 
Which Road ? 
Whisperin' Bill 
Whistling Regiment, Tb* 
Wild Prairie Fire, A 
Wisard's Spell, Tha ^ 



ONe HUNDRED CHOICB S6LBeTIONS~No. 31 



After Death ia Arabia 

All-around Int«llectaal Man, 

Apostrophe to the Missii- 
8ip;)i 

Vuut Maria at the Eden Musee 

Awake! Rejoice I 

Bachelor's Reverie, A 

Be Ye Keadj- 

Billy's Rose 

Blind Flower airl of Pom- 
peii. The 

Blind Marj of the Moantain 

BoJan Jack of the "Albatrow" 

Bvoucht Back 

Caught 

Charge on " Old Hundred " 

Chinaman's Prodigal, The 

,Chri»tm« Story, A 

Christopher C— 

Cloeiug Soeue, The 

Columbus 

Come, Sign the Pledge 

Court of the Kin?, The 

Curate's Story, Tl:e 

Current of Life, The 

Curtsy, The 

Dickens Gallery, The 

Eagle Screams, The 

Epitaph, The 

Eternity of Music, The 

Evening Doze, An 

Everlasting Memorial, The 

Fate 

Father's Choioe, The 

Fauutleroy 

Flniehed Cdueatioa, A 

Fis«maB'8 Prize, The 



God's Music 

Good Joke on Maria, A 

Half wa» not Told Me, The 

lie had Faith 

Uer Ideal 

Heroes of Inkermam 

His Mother's Songs 

How I Won ray Wife 

How the Church waa Built at 
ICehoe's Bar 

Inasmuch 

It's my Natnro 

Jesus, Lover of my Soul 

Joner Swallerin" a Whale 

Keepers of the Light 

Lady Jane 

La Teur d'Anvergne 

Little Dago Girl, The 

Little Jack Two-stioka 

Lost Found, The 

Mother-ia-law, The 

Mounted Knight, The 

Mr. Eiaaeldorf and the Water- 
pipe 

Mrs. O'Toolo and the Con- 
daetor 

My Dolls 

My Neighbor's Call 

Natbaa Hale, tlie Martyr Spy 

Niekel-plated 

Kiakum Land, The 

Nera Mulligam's Thanksgiv- 
ing Partv 

Ome-legged Goose, The 

Oar Church Sociable 

Over the Divide 

Owaa'i Oath 



Party Cawcus, I'ha 

PeronelJa 

Prairie Mirage, The 

Pretty Maid of Kissimmee 

Prototype, A 

Quicksand, The 

Quiet Smoke, A. f A Comjdy) 

Reclaimed. (A Tempe-anoe 

Rescue, The [Drama) 

IlftsuiTeation Morn. (Aa Ori- 
ental Drama) 

Roman Legien, A 

Sarah's Proposal. (A Head" 
logne) ' 

Shadows on the Snow 

Small Beginnings 

So was I 

St. Peter's Politeaess 

Stranger's Evidence, The ^ 

Sunbeam's Mission, The 

"There was a Crooked Man** 

Tribute to Grant, A 

Truth in the Ship's Log 

Unele £dem and thi Ffnrridy 
Nigger 

Unseen Angel, An 

Up Higher 

Velvet Coat of the LoMt Cen- 
tury, A 

■Watermilllen, The 

We all Know Her 

What Might Uapp«a 

Woman 

Woman Healed, The 

Yonng Bootblack, The 

Ze Moderue Eaglisk. (A 
Comedy) 



ONE HUNDRED CHOICE SELECTIONS— No. 3a 



And the Band Played 
Baehelor's Hepe, 'The 
Beauty of the Sea, The 
Big Bob Simpson 
Bridge of Glen Aray, The 
Oadwalader Fry and his 

Theory 
Cap'n Peleg Bunker on Base- 
ball 
Caractaeus 
Child's Mirror, The 
Christmas Guests, The 
Church Kitehen, The 
Civil War— Episode of the 

Commune 
Crossing the Bar 
Dead Leadsr, The 
Der Shpidor und dor Fly 
Dot and Dolly 
Drumhead Court-martial, A 
Brummer Boy, Tho 
Dude, A * ^ 

Duel on a High Tower, A 
Drnamits, Plot, A. (A Com- 

«dy) 

XeonomicjJ Boomerang. (A 

Comedy) 
Elam Chase's Fiddla 
Etiab Elitser 
Encore; Encore! 
Farmer Boffin's Equivalent 
Fife, The 
Fighting Fire 
Flag of tho Rainbow 
Frank Havman 
From the Iron Gate 
q^lide Post, Th© 



Heart's Ease, The 

He Didn't Amount to Shtitks 

He Tried to Tell his Wife 

His Names 

Hour with Whittier, An 

How an JZngineer Won his 

Bride 
Hunting a Madman 
Idiot Lad, The 
Inevitable, The 
latsrmpted Proposal, An 
Jail-bird's Story, A 
Juryman's Story, A 
Kissing Cup's itaoa 
Latches 

Light in the Window, The 
Little Bey who Tfeat Away, 
Little Charlie 
Little Pilgrim, A 
Little Saint CaeiUa 
Lore's •trategr 
Mad 

Magio Wand, Tha 
Magpie, The 
Mendsd Vase, The 
Nellie's Prayer 
Oh, for a Man 
Old Ace 

Old Fisherman, The 
Old Jack Watfcs's Chrlstma* 
Only a Woman 
Only Joe 

On the Rappahannock 
Open Steeplechase, The 
Our Wedding Day 
Overland Mail 



Peter Mulroeney and the 

Black FUIy 
Race for Life, A 
Raising a Beard 
Rescue of Albret, The 
Reseue of Mr. Figg, Tke 
Revenge, A 
Ride of Death, The 
Sad Mistake, A 
Seth Feters's Report of Daniel 

Webster's Speeoh 
ghadow from an Insana Asyo 

lum, A 
Slaughter House, The 
Swipes's Dinner 
Three Preachers, Tha 
Tim's Downfall 
Te the Dvkea 
Taae of the Voice, Tha 
Teo Preg ressive for Hlia 
Tragedy in the Sunshine, A 
True Bo.itonian, A 
Twe Pennies, The 
"Uncle Jehn" to his Ci^ 

Oeusin ' 

Unale Pete's Plea 
Under the Wheels 
Wakin' the Young Uas 
Water and Rum 
What She Said 
When Grandfether Went t« 

Town 
When I am Dead 
When Sam'wel led the Singli^ 
Where are Your Treasures / 
White Rosa and the Poppi^ 
Yftwcofs Trflmlattona 



GNB HUNDRED CHOICE SELECTIONS-No. 3$ 



&Ude wl«h Ma 

Beethovea's Mooalight Sonata 

Big Mistake, A 

Biessiag of Song, Th« 

Bobby Shafkoe 

Building 

Burton's Curfcains 

Christmas Angel, The 

tjhrigtmas-tida Shadow, A 

Chureh in Lnsre Hollow, The 

Ciiens Boy, The 

Columbia's Jubilee 

Columbus 

-Compasjsiea 

CJoBJugating Irutohman, The 

Daybreak in the Camp 

Dreaai of a Smart Boy, The 

Drinking-konBe Oyer the Way 

Drummer of Company C, The 

Face Upon the Floor, The 

I- air Enthusiast, A. 

Faultless 

Flower Girl, The 

Folded Hands, The 

From Shadow — Sun 

Qaleshurg Fire Department 

Geograpliy Demon, The 

Girl at the Book Counter, The 

Glacier Bed, The 

Go. (A Comedy) 

6ro Forward 

Crod'i Wonderi 

Grammar L«»son, A 

Grandfather's Clock 

Grandma's Wedding Da^ 

Bagar's Farewell 



Hands Drop Off— The Work 

Geaa on. The 
HoHse not Made with Hands 
Ideal is the Real, The 
If we Knew 
In the Elevator 
Is Freedom a Lie ? 
Jim 

Johnny and the Teacher 
John White's ThanksgiTiag 
Judge Lyneh 
" Jumped "—The Story of Bea 

Fargo'a Claim 
Karl the Fiddler 
Kiss in the Tunnel, The 
Langley Lane 
Last Battle, The 
Last of the Cheir, The 
Legend of the Fleur-de-Lis 
Liquer-seller'g Dream, The 

(A Dialogue) 
Little FeUer, A 
Little Orphant Annie 
LiTing Stonee 
Matildy Goes to Meetin' 
MiUtary Staeple-cha«e, The 
More Crnel than War 
Mournful Tale, A 
Mrs. Jenes's Pudding 
My Bey 
My Country 
Mj Firart Reeital 
My Mother's Hymns 
ObstzFueti ve Hat in the Pit, The 
Old Soheol Exhibitions, The 
Om the Koad to DTOamtown 



Optimism 

Penny Showman, The 
Picture on the Wall, The 
Prisoner ef the Baetile, Ttie 
Baising the Wiad. (A CoBk 

edy) 
Sape of the Bell, The 
Eeuben Jamea 
iand 

Serious Mishap, A 
Shewing off an Eloovtieitist 
Siege of Calais, The 
Simon Gmbb's Dreaa 
Solomon Gruhb 
Squire's Roester, Tk« i 

Story of @<>od Little Tlneeet^ 
Suaceptifele Parsen, The 
The Other One was Boeth 
These DreadfoJ Hard Timea 
Tim Titus 
To the Palaee of the King. (4 

Dialogue) 
Teld at " The Faleom " 
Trip to the Stars, A 
Triumph ef the Riooi, Th« 
Two Men 

Uneut DiAmend, As. 
Undertow, The 
Unixersal Prayer, The 
" Vanity of Taniliea " 
Vision, A 

Well, Then I'm Tevrn 
When Mandy Brings the Kiik 
Also lentimente, Witti- 
eLsma, eta. 



ONE HUNDRED CHOICE SELECTIONS— No. 34 



Maat Kever was a Bey 

Adown the Years 

Amaryllis 

Arithmetic in Life 

Aa She Says 

At Bethlehem 

•* Attempted Suicide " 

SangB Family Tell a Story 
anner that Welcomes the 
W^rld, The 
peyond 

Breso* 

Brigliv est Gift, The 
Browft Stout 

•'Bu''. of Promise Raeket/'The 
pus^jer. The 
B»*3y 

By the Sea 
Cartwheels 
Chief Mourner, Th« 
Child's Tear, A 
Christmas Legend, A 
Corioliatius 

Critical Moment, The 
Death of Steerforth, Tha 
" De Lord am Coming" 
Dime Supper, A 
'Easter Lily, An 
Exiled 

Farmer Stehbin* at Fooi-ball 
Dour Motteea 
Four Pictures 
Four Sunbeaaas, The 
Friar Tuck. (A Eomantlo 

Drama) 
9old«a geopter, Th* 



Sewk's Errant and "What 

Cam' O't, A 
Homeless 
How Mrs. O'Doelahfloi Had 

Mike Arrested 
How We Killed the Rooster 
Hymn for America, A 
I Haven't Mu«h Religion 
laternatienal Band, The 
Jane Jones 
Jes' 'fore Christmas 
Jewels of My Aunt, The. (A 

Farce) 
John Alcohol 
Just What I Wanted 
Kingdom of Sham, The 
Lady from the West, The 
Last Tudor, The 
Legend of King Nll»s, The 
Life's Weaving 
Little Miss Tret 
Lest Chord Found, A 
Lest Page, The 
Love's Caramels Lost 
Meetin'-hous® is Split, The 
Miracle of the Bgj, The 
Mortgage on the Farm, The 
Mrs. QuptiU Gets Ahead «f the 

Grip 
My Fountain Pen 
My Ships 

My Wife's Hushani 
Name Your Poison 
Nautical Conversation, A 
Newsboy's Funeral, A 
No. 5 Collect Street 
" Ne Saloons Up There " 
Olleiieply msA John MaUbs 



Old Minstrel, TIw 

Only a Drunkard 

Oar Christmaa 

Overdone Eeononir 

Renic at Selina, Th« 

" Pitty Fewer, The" 

Plate and Diogenes 

Preetor Knott on Dulutk 

Kinger of the Chimes, Tbe 

Eover in Church 

Russian Ceurtship, A 

Kasty Sword, The 

Santa Clans in Spitd of Wm- 

self 
ta^'ed hy a Hymn 
Smith's Bargain Day 
Story of Two Little Sheee, Thi 
Sundav QuesMon of T(>-dajr ' 
Tiger Bay 
Tench »f Natnre, A 
True Contentmeat 
True Worth 
Uncle Peter and tfae TroUar 

Car 
Under the Purple and Motley 
Unequal Partnership, Aa 
Unsophisticated 
Veteran, A 
Way to Freedom, The. (A 

Temperanee Play) 
W'ea Bill Sxaith Glte Bis 

'Cordeen Out 
When the Light Goes On* 
Why Uncle Ben Baekslid 
Wish Dearer Than the Ciwi 
Also Sentiments, "WiM- 



ONE HUNDRED CHOICE SELECTIONS-No. jf 



^ Boak in " Wum Barrels" 

A -visitin' the Sehool 

After the Opera 

Api riach of Night, The 

Are You Ready ? 

As in a Looking-glass 

As Seen in Later Years 

Bachc;loi':5 Dream, The 

Barcarolle 

Beating a Conductor 

Bells of Notre Dame, The 

Bessie's Christmas Dream 

Bessi^ First Party 

Bniby's Coat 

"Calls" 

Candor 

Casey at the Bat 

Child's Prayer, Th« 

Christmas 

City Tale, A 

" Come Unto Me" 

Counting the Seeds 

Coward, The 

Crowning of the King, The 

Cnpid Peeped in Throngh the 

Blinds 
De Ole Elder's Mistake 
Dead Man's Gulch 
Decoration Ode 
Dirty Old Man, The 
Dream Rambles 
Dying Chief, The 
Farmer's Song Bird, The 
Fern and the Moss, The 
First Christmas Tree, The 

flat Contradiction, A 
««r Kisses, The 



I Fourth of July at Ripton 

Grandma's Surprise 
i Her First Baby 

Hiartville Shakespeare Club. 
( A Farce for Girls) 

Hunk! Hunk! 

In a Horse Car 

Inventor's Wife, An 

Irish Widow to Her Son, The 

Justice, not Charity 

Keep to the Line 

King's Daughter, The 

Let Down the Bars 

Little Efrum's Ride 

Little Heroine, The 

Little Joe 

Marriage Tour. A 

Matrimonial Mix, A (A Com- 
edy) 

Mid the Breakers 

Minstrels of the Marshes, The 

Mister, yer Gittin' Old 

More in the Man than in the 
Land 

Mullins the Agnostic 

Needles and Pins 

Night Mail North, The 

Nine Suitors, The 

Not Understood 

" Not Wanted " 

Old Canteen, The 

Old Tunes, The 

Old Wife, The 

Our Ranks are Getting Thin 

Out of the East 

Out of the Window 

Palace of The Days, The 



Parrots, The 

Picture of the Last Snppet 

Postilion of Nagold, The 

Private Rehearsal, A 

Prosperous Couple, A 

Rest 

Rev. John Smith Prepares bit 

Sermon 
Right Building 
Sermon in Flowers, A 
Stage-struck Hero, The 
Story of a Stowaway, The 
Tommy and the Crocodile 
Tom's Thanksgiving 
Turning 

Uncle Jotham's Boarder 
Uncle Peter at the "-Big 

House " 
Under the Old Oak Tree 
Unknown Speaker, The 
Value of Education, Th« 
Wandering Jew, The 
Washington 
Water 
"VV'ayback TemperanM Ij— 

ture 
Weird Warble, A 
What Three Women Said 
Wheel and I, The 
White Lily, A 
Within the Fold 
Wopsenonic 
Yankee Boy, The 
Also Sentiments, Wlttldsm^ 

etc. 



ONE HUNDRED CHOICE SELECTIONS— No. 36 



After the Walta 

Against License 

Alameda 

All the Same 

Andre and Hale 

As Ye Would 

At the Camp Fire 

Aunt Sophronia Tabor at the 
Opera 

Be Careful What You Say 

Ben Hassan's Dream 

Bunch of Primroses, A 

Candidate, The 

Chimes of Amsterdam, The 

Comal and Galbina 

Coronation of Inez de Castro, 
. The 

J>ad Says So, Anyhow. (A dia- 

r logue) 

jDog Kindergarten, The 

Drunken Engineer, The 

Friend Death 

Garden Path. The 

Gentleman Jim 

(Grandfather's Story 

Grandpa and Baby 

Hoeing and Praying 

Horse-thief Jim 

Jloratii and Curiatii, The 

How Larry Sang the "Ag- 
nus") 

How the Refugees Were Saved 

How to Get Rich 

How We Beat the Favorites 

How We Played " King Wil- 
kam" 

In the Hall 

I9 e^ LooldBg-jpUst 



Into the Sunset 

Ivan the Ciar 

Jack 

Just Like a Man 

Katie's Questions 

Keep Up With the Times 

Last Roll-call, The 

Lecture, The 

Legend of Easter Eggs, The 

Letters for Mr. Smith. (A 
Comedy) 

Making 'Him Feel at Home. 
(A Monologue) 

Mariar in Heaven 

Master's Touch, The 

Mine Own Countree 

Miss Agnes 

Moor's Revenge, The 

Mother's Songs 

Mr. Meek's Dinner 

Mrs. McShane's Shopping Ex- 
pedition 

Mrs. Tubbs at the Sewing 
Circle 

Musical Threnody, A. (A Dia- 
logue) 

My Great Mistake 

Nat Ricket at Cricket 

Nature's Monotony 

Old Sermon, The ' 

Old Violin, The 

One of Many 

On the Sunset Line 

Origin of Shoes, The 

Over the Range 

Panther's Choice, The 

Haggles 



Runaway Boy, The 
Sambo's New "Year's 8«niMD 
Sarah Ann Miranda 
Ship-boy's Letter, The 
Sister Ernestine's Bea» 
Song-bird of the Princess, Tht 
Song of the Bicycle, Th«s 
Song of the Sea Wind, The 
Spellin' School, A 
Stage of Destiny, The 
Storming of the* Castle, The 
Story of a Great Artist, The 
Stranger and His FKend, The 
Tale the Titles Told, The 
Temperance Ship, The 
That's Baby 

That Whistle Saved My Life 
Them Dear Old Garret Thingi 
They Met in Death 
They Will Never Do So Agaim 
To Absent Friends 
Troublesome Wife, Tha 
Tumbler of Claret, A 
Turning the Tables, (A Com- 
edy) 
Twin Ballots,' The 
Two Little Stockings, The 
Uncomfortable Call, A»- (jl 

Dialogue) 
Under the Snow 
Victor and Vanqni8li«4 
Visit to the Sea, A 
Wife's Prayer, The 
Wisdom of Krishna 
"Won't You Follow Me 
Work That is Best, Tb* 
Also Sentiments, "WftitMam* 



OP^ HUNDRED CHOICE gELECT!ONS~No. J7 



ASectloa of tlie Heart, An. A pleasing 

parlor play. 

Aired Her Knowledge, The blunders a col- 
lie girl makes with practical affairs. 

Alexander. inH of puns. 

American Forest Girl, The. By Mrs. Fe- 
licia Hemans. A dramatic story of 
the North American Indians. 

Angelina. Negro dialect with a decidedly 
musical swing. 

At f Woman's Club. Humorous. 

At the Hospital Wiadow. Humorous and 
pathetic. , ^ , , 

Average Boy. The. An incorrigible ooy. 

Baby's Offering. A good missionai-y piece, 

Bai>helor's Coat, The. A bachelor s reve- 
rie the night before his wedding. 

Bell of St. John's. The. Patheac aad 
dramatic, 

Belshazzar's Feast. Dramatic. 

Birth of LiUle Paul. The. By Charles Dick- 
ens. Fine description, strong pathos. 

Blue and Gray, For Decoration Day. 

Captain Joe, By F. Hopkinson Smith. A 
thrilling description of aa act oi 
heroism. 

Christmas Angel's Message. The, A touch- 
ing Christmas story. 

Christmas Chimes in Boston. PhnadelpMa. 
New York and Chicago. A humorous 
satire on the four ciUes. 

Claim Was Jiet, The. Strongly pathetic 
and dramatic. 

Colonel's Experiment. The. Yery funny. 

Coming Home, A pathetic story of a sol- 
dier's return home from the war. 

Coming Man. The, Humorous. . , ,_ 

Common Duties. An appeal for higher 
womanhood. . , 

Dreams. A pretty legend of a dream sale, 

EfEectiTe Narration. An. A- very humor- 
ous appeal far a pension. 

Family Financiering. Humorous. 

Farmer's WeU, The. Humorous. 

Ferry to Shadowtown, The. A lullaby. 

Fire! Very dramatic. 

FUcber on the Fence, The. A pastoraL 

For Her Sake. Strongly dramaUc. 

Fun That Adam Missed, The. Humojroug. 

Good Rule, A. Moral. 

Growing Old. A latter-day reverie. 

Happiness and Duty. MoraL 

Eia New Brother. Very amusing chixd 
dialect. _^ „ ^ 

"Turricane. The. By WUliam Cullen Bry- 
ant. A graphic description cs a storm. 

If We Knew. Pathetic, with a moral. 

Jack and I. Pathetic sentiment. 

iJoseph Clasi^n. Dramatic and pathetic, 

'Just About These Days. Ode to Autumn. 

Just Be Glad. By James Whitcomb Riley. 
One of his most pleasing productions. 

Elttyboy's Christmas, By Amy E. Blan- 
chard. A most pleasing Christmas piece. 

Ladies' Whist Club. The. How the aver- 
age woman plays whist, 

little Boy's Lament. The, Child dialect, 

Little 5 [Uriel. By Miss ilulock. A pa- 
thetic story of the death of the little 
blind girl. 

Messpge for Mama in Heaven, A. Pathetic. 

Messenger Boy. The. A striklna: and hu- 
morous delineation of the average 
telegraph messenger boy. 

Mi«3es at School. The. Humorous. 

Modern Youth. A. Humorous. 

Morning's Mail. A. Capital monologue 
for «. ge^l«ata&. 



Mother's Room. Pathetic and Inspirlns. 

Mr.Dooiey on a Populist Convention. A* 
extract from "Mr. Dooley". Humor* 
ous and satirical. Fine Irish dialect. 

Mrs. McDufly on Base-Ball. Humorous. 

My Big Brother. Child dialect. 

My Fiancee. Clerer humor. 

Newsboy in a Church, A. A newsboy's 
first visit to an Episcopalian Church. 

O Jlither. Sing a Sang to the Baima. 
Scotch dialect. 

One of God's Little Heroes. By Maxsa« 
ret J. Preston. Child dialect. 

On the Stair. Clever humor. 

Our New Relations. By William Mo« 
Kinley. Oratorical. 

Pa's Soft Spot. Child dialect- 

Patriotism. By Archbisliop Irdaad 
Oratorical. 

Penitent, A. Irish dialect. Humorous. 

Petrified Fern.. The. Beautiful descripUon. 

Political Stump Speech, A. Original. 

Remember the IVIalne. Stlrrins, patriotic 

Rose Bush. The. Pathetic. 

Safety in the Rock. Religious. 

Saved. Temperance. 

Scene from Cyrano de Bergerac. The cele- 
brated balcony scene from this popu- 
lar play. 

Sea, The. Humorous. 

Sea-Mews in Winter Time. By Jean Ing»j 
low. A reverie by the "sad sea waves,'* 

Sent to Heaven. By Adelaide Anne Proc* 
tor. A very beautiful description. 

Settin' the Flags. For Decoration Day^ 

Shadow of a Flower, The. By Mrs Fb^ 
licla Hemans. Metaphorical. 

Sistah Lize. Pathetic. Negro dialect. 

Sleeptime ia Darktown. A lidlaby. 

Sorrow of Buddha, The. By Edwin Ar» 
nold. PhiiosopMcal. 

Souvenir, A. A pleasing encores. 

Sowers, The. Moral. 

Tab er Tatah en Walt. A child's retali- 
ation. 

Tampa Romance, A. A pleasing story of 
tho Spanish War. 

Tenement House Guest. A. Pathetic. 
Irish dialect. 

(Things That Never Die. By Charles Dick- 
ens. Moral and religious. 

Thoughts. By Mrs. Rose Hartwlei 
Thorpe. Beautiful sentiment. 

Three Stages. The fickleness of human 
nature. 

Tit for Tat. Scotch dialect. 

To Grown-up Land. Allegorical. 

Took Johnny to the Show. By Will 
Carleton. Humorous. 

Tragic Parting, A. Lament of an oyster oa 
departure for church sociable. 

Triumph Through Faith. From "Tha, 
Wrestler of Philippi.'' Highly dra- 
matic. 

Trolley on the NUe, The. Pleasing hamor. 

Up in the I^ft. Reflective. By WUI' 
Carleton. 

Wedding Gift, A. How a bride was won. 

What Hast Thou Done To-day? Moral 
and religious. 

What They Wanted. Hebrew dialect. 

When the Teacher €tets Cross. Plaaalag 
humor. 

Woman's Love. Very ^junny. 

Young Man Waited. The. She was so 
long in dressing that be evaporated. 

Young Musician. The. Trials of a jfoxm^ 
mm vitl> uvstcai aWlty. 



eNB HyiVDREB CHOICS SELECTIONS -No. 38 



iltnost noma. Very pathatic. 

"A3 Baaeametb Mea." Uumble heroism. 

At F1t« O'Cloek Tea. CharacterLiUc taili 
at such »tlair9. 

Ball of Ht. Aiicb^jl, Tbe. Dr. W. H. 
IMimmond. Freacb-CaBadla.n dlalacL 

Beaded Bow, The. Mio. Hemaiii. A 
etlrrlng call "To Anut," 

BooBdlna the Unltod Stalaa. John Flske. 
Patrlotla 

Bridge of a Huadrod Spani, The. Gil- 
bert Paj-ker. A glrl'g bcrolBm- 
' Buddhist L<«end. A. Pathetic, with 
6tron« moroL 

Chanoea Otb«ri Have. The. Moral. 

Child onoa More, A. Pathetic. Death scene. 

ChrlBtmas at Black Bock. Kalph Connor. 
An excltina horee race. 

/Christmas Carol, A. Adelaide A. Procter. 
For Chriatm&a. 

Christmaa Ere. Very pathetic. 

Ohrlstmaa Greena. Monologiie for lady. 

Christmaa Turkey. The. Lesson la route- 
Best. 

Comer Grocery, Th«. Pathetio Christmas 
pleoe. 

Crooke<l Mouthed Tamlly, The. Lauch- 
able facial imitation. 

DecoraUoa Day. Ode to falle« soldiers. 

DllJereuoe. The. Moral reflection. 

Dog and the Caramel. The. Extremely 
humorous. 

Faithful Unto Death- Tribute to William 
MoKlnley. 

Fleeh and th« Spirit, The. Stronely dra- 
matic 

From Revejlle to Taps. For Deforatlon Dfiy. 

Good Management. Humorous, 

Hannah Araetf's Faith. An episode of 
the ReTelutlo*. 

Harvard vcreua Tala. Humorous •ncore. 

Her No. Encora. 

Her Reply. Haeore. 

Hc7me-mad« Broad. Reflective. 

Honor of the Woods, The. W. H. H. Mur- 
ray. Realistic description of a boat 
race. Exceedingly popular. 

How He Won His Freedom. Conylct's 
escape from prlsoi*. 

How Prince Was Saved. Child dialect. 

Humble Heroism. Pathetic Intddeai of a 
freahet. 

In Cherry Time. Rlghte of the birds upheld. 

In the Days of I>afayette. A rcminlsceDce, 

I Say Unto Tbo«, Arise. An Easter poem. 

Zs Marriage a Failure? Encore. 

I Wouldn't Fret. Moral. 

Jack. Story oC heroism. 

John W. Jones. Pathetic narratlra. 

Just for To-day. Canoa Wllberforce. MoraL 

Landing of the Pllgrimi, The. ilrs. 
Hemans. Descriptive. 

Law. The. Moral. 

Left Aloae, Pathetic child dialect 

Life and Death. Tory pathetic 

Lincoln, the Immortal. Henry Watter- 
son. Tribute to Abraham Lincoln. 

Little Florence. Charles Diclrens. Pathetic. 

Mflidng a M»n of the Boy. War episode. 

ifxoims** Way. Negro dialect. 

'~ ~ ClevBT hawta. 



Llodorn Christian's Prayer, Tbs. ■atlrfett 

and humorous. 
Moriarity aud McSwiggan. Irish cUalecC 
Mourning Bell. The. J. L. Harbour. 

Showing the fallacy of gossip. Much 

In demuDd. 
Mr. Dooley on FootbalL Irish dlalecC 

Humorous. 
Neddy's Thant^lving. Cluld dialect. 
New Year, The. Moral. 
Noddln* by the Fire. Paul Lawrwnc* 

Dunbar. Negro dialect. 
No Place for Boys. An appeal to mothers. 
Nothlr* Suited Illm. A grumbler's walL 
Obliging Lady Boarder, The. Humorous. 
OpportuHlty. John J. Ingalla. The poen* 

that made Irlm famous. 
OrganlBt, The. Humorous. 
Owed to a Barber. Humorous 8olllo<Tuy 

1q barber's chair. 
PameUa Splicer at the Beach. Humorooa. 
Papa and the Boy. An amusing midnight 

conversation. 
Penelope's Christmas Dane*. Durlac 

which WashiMgton captured tb» Britlalw 
Pnet Lore. Edwin Markhaaa. 
Postponed. Pathetic 
PotpourrL Medley. 
Reading a Letter. Humoro«s. 
Eemwmbrances of Childhood. Betrotpwitlon. 
Romaiice and Reality. Humorous bogTt 

letter. 
Sally Ann's lEiperlecce. Humorous. 
Second Table, The. A boy's reflectloMS, 
ShouiJlng. Humorous. 
Signs. Negro dialect. 
Silversmith, The, Moral reflection. 
Smile. The. Moral. 
Society Play, The. Humorous. 
Sockery Joins the Lodge. German dialect. 
Song of the Housekoeper, Tlie. House- 

clNining troubles. 
Etay In the South. Strong dedamatloo. 
Strive, Wait, Pray. Moral. 
Tale of a Stamp. Clever humor. 
Thsn and Now. Ancient aad modem «!■ 

tapks. 
To-morrow and To-day. MoraL 
Toys, The. Pathetio. 
Trip to Morrow, A. Puzzling h\nnor. 
True Liberty. Patriotic 
Twinkle, Twhakle, LKtle Star. As rsclto« 

by a Boston child. 
Unguarded Gates. T. B. Aldrlch. Patriotic. 
Watchln' the .Sparking. Fred Emersoa 

Brooks. Hmaorous. Very popular. 
When Daddy Plays do Banjo. Negro dia- 
lect. 
Wben Pa Tried Mental Hoaling. Humor- 
When Jim Died. Pathetic 

ous. 
Where the Spanlrweod Grows. Chilif. 

dialect. 
Whistling Boy. Recitation for a goo4 

whistler. 
Wild White Rose, The. Longing for tfae 

unattainable. 
Will afld Won't. CootMsted. 
Wrestler of PtoUppi, 
in 



©NS HUMDI^fiD CffOISB SELECTIONS— No. » 



'Abraham Lincoln. By Ex-Presldaat 

Roosevelt. Patriotic. 
Adviae to Tirzah Ann. By Marietta 
J. Holley. Humorous. 

All's Well That Ends Well. Amog- 
Ing encore. 

Amanda's Wedding. Negro dialect. 
Humorous. 

Armor Bearer, The. Pathetic. 

At the Milliner's. Humorous. 

Back to Broadway. By George Ran- 
dolph Chester. Amusing. 

'Ballad of Breakneck, The. Dramatic. 

^ettina Mazzl. Dramatic. 

IBusybody, The. A village meddJes. 

Casey's Revenge. A reply to the 
famous "Casey at the Bat." 

Christmas Anthem, The. Opportuni- 
ty for humoroua stncing. 

Chtima. By J. W. Foley. Pleasing 
bey friendship. 

Comfort. Optimistic. 

Cremation or Sam McGee. The. Bc- 
eentric humor. 

Cross Purpoees. Humorong, 

Death of the Gadfly. Dramatic. 

Delusion of Ghosts, The. HumeroH*. 

Emancipation. Spiritual i)oem. 

Entertaining the Minister. Very fnn- 
ny child piece. 

Euchre. Aa played hj women. 

Flowery. Bncore. 

Foreign Photogr-aDhs. Hura©rous. 

Getting Inforra?:tlon Out of Pa. Hu- 
morous child piece. 

Glad Tidings. Religious. 

Happier Life, The. Uplifting senti- 
ment. 

Her New Hat. Humorou*. 

Her Way. Encore. 

He's None the Worse for That. Tra« 
worth of an honest man. 

Hint, The. Scotch dialect. Encore. 

His Courier. Humorous courtship. 

Booked. Encore. 

How She Get Beady. A woman's 
vanity. 

How the Twins Gave Thanks. 
Thanksgiving story. 

Innocence. Child dialect. Humorous. 

In the Ninth Inning. Stirriiig finish 
of a ball game. 

Japanese Mother, A. By Grace Duf- 
fle Boylan. Dramatic. 

Johnnie's Checker Story. Humorous 
verse. 

rust As It Used to Be. Sentiment. 
i'Keeplng Him Warm. Humorous. 
(Kid's Compoaltlon on Mothers, A. 
By Judge Henry A. Shute. Eu- 
moi-ouB. 

King's Jest,_Th«. By Kipling. Dra- 
ma He verse. 

Kiss in the Ealn, A. Sentiment, 

Laddie. Pathetic. 

Larry Shannon's Eagter Offering. By 
Edith Sessions Tripper. A fine 
dramatic Easter selection. 

Lending a Hand. How a man hooks 
wp his wife's waist. 

■"Literature." Encore. 
Little Girl's Plaint, A Childish hu- 
mor. 

Little Misschsfuss. Child dialect. 

little Things. Everyday Kindness. 

ttCTBB of Titna, The. Humorous. 

A dream iU^% piet^ l 



Mamaay's Lallaby. Negro dlalMt. 

Mary Blizabeth. Pathetic. 

Military Comedy, A. By Elliot FloWm 

er. Hamoroas. 
Minty's Christmas. Nfegro dlaloet 

Christmas piece. 
Mistake in Identity, A- Encore. 
Mizpah. Religions. 
Mrs. Harrigau at tha Shoe Store. By 

Charles Battell Loomis. H«»or- 

ous Irish dialect. 
Mrs. Madden's Golden Wedding. By 

Elli* Parker Butler, author of 

"Pigs Is Pigs." Humoroua. 
Mule, The. Humorous enc©re. 
Offending Eye, The. Humorous dar- 
key dialect. 
Parting Christmas Rhyme. A. W. M, 

Thackeray, For Christmae. 
Passing ef the Horse, The. By S. B. 

Kiser. Humorous. 
Passionate Shepherd to His L«v». 

Sentimental. 
Patty's Muff. Sentimental. 
Peaches. Negro dialect. Descriptioa 

of exciting horse race. 
Perfectly Lovely Companion. A. Caa 

be Hsed as a naonologue ©r play. 
Philip Barton, Engineer. Dramatic. 
Polly's Preparations. Enc»re. 
Price, The. Bncore. 
Prisoaer's Statement, The. Very dra% 

matle. 
Problem in Mathematics, A. Humar- 

0U8. 

Proposal, The. By Sol Smith Rm- 

seU. Very funny. 
Queen Esther's Petition. Pathetic 

and Sentimental. 
Eollo Learning to Dress, By Robert 

J. Bardette. Humorous. 
Boaa Bad. Bj Charles Dickens. 

Characterization. 
Rummaging. Pleasing eentlaent- 
Samta Clams' Tree. By Wallace Ir» 

wIh. For Cairistmas. 
Spell of the Yukon. The. Fine d«- 

acrlption. 
Spirit of Reform, The. Htiniorons. 
Stage Technique. Dramatic bar- 

lefi«ne. 
There Is No Unbelief. Rellgioma. 
Tim's Vacation. Pathetic. 
Tommy Candy. HunaoroHs. 
Tom's Race. Bxcltlna schoolboy ath* 

letlcs. 
Trials ef a Honaekaeper. The. GhUcI 

han9<»r. 
Tmrkey Tall Pan, De. Negr© dIaUct. 
Two Can Live as Cheap as Oa«* 

Very fmmy verse. 
Two Cases of Grip. Humoroua. 
Visitation. A. Humorous. 

e to Lullaby Land, The. Lul- 

Weddin', The. Humorous. 

What Bridget O'Reilly Bought. Irish 

huBaor. 
What the Matter Was. Hnmoroaa. 
What WUliam Henry Did. By J. !•. 

Harbour. Very amusing. 
Wlieu Love and Duty Mwt. B»- 

maiiiie. 
When Men Turn Gossips. Musaorvas. 
When Papa Was a Boy. Humorcna. 
Willie Meets the Vlsitua. Ha «nt8e. 

t0ias bis sister's Mf^d. 



ONa TIUND!^ED CTrtTTCC S2LECTI0NS— No. 40 



Accountability. Negro dialect. 

"Ain't You Got Me?" Pathetic child 

dialect, negro. 

An Aim. MoraL 

Angel of Patience, The. Religious. 

Apple Blossoms. A spring song. 

April Fool. Encore. 

Apropos of the Flay. Monologue. 

Architect of tlio Amphitheatre, The. Tragic 
tale of the early Christians. 

*Arry on Lack of Clarss. Cockney dialect. 

Alt and Heart. Eeflective. 

Artists. Religious. 

As to Fairies. Humorous. 

At Lincoln's Tomb. Touching tribute. 

At Seventy-Five. Rsflective. 

At the Sign of the Cleft Heart. Allegory 
in dialogue. 

Aunt Deborah Goes to Washington. Hu- 
morous monologue. 

Ballad of a Wilful Woman. She has an 
auto accident. 

Ballad of Eve's Return. A thrilling ac- 
count of Eve's refusal to enter Para- 
dise. 

Before the Ball. Short, tragic mono- 
logue. 

Besetting Sin. A. A little boy's resolu- 
tion. 

Blue and Gray, The. For Memorial Day. 

Brook, The. A pretty fantasy. 

Capo Horn Gospel. A sea tale. 

Carver and the Caliph, The. An al- 
legory. 

Charles Stuart and the Burglar. Tale of 
a boy's courage. 

Cheerful Hostess. The. A humorous mono- 
logue. 

Cheerfulness Taught by Reason. Re- 
ligious. 

Cutting of Ham, The. A colored man's 
fear of the hospital. 

Dancing School and Dicky, Tlie. A lit- 
tle boy's trials while learning to 
dance. 

Pc.\th Potion, The. Dramatic. 

J>e Fo'th ob July. A negro speech, 

Demonstrator, The. Humorous monologue. 

Division of Sin. A. A lottery In a coun- 
try church. 

Kach in His Own Tongue. Religious. 

Uasler Eve. Tiie miracle of the Sprmg. 

Efficacy of Prayer. The. Negro dialect, 
humorous. 

Emir Hassan. An oriental tale. 

Envy. A child's complaint. 

Fancy from i'ontanelle, A. Encore. 

Vlag That Maiies Men Free. The. Pa- 
triotic. 

Fortunate Isles. The. Reflective. 

Gettysburg. An address. 

Give Me the Baby. A childless mother's 
longing. Pathetic. 

Growing Old. By Robert Browning. 

iieait of a Rose, The. Reminiscence of 
Colonial times. 

H'3at of Battle, The. A minister's wlfa 
and lier trials. 

He Didn't Go On. She discouraged him:. 

How Men Found the Great Spirit. An 
old legend. 

IIow to Manage a Husband, By Dorothy 
Dix. 

I Am. Moral. 



Idyl of Humble Life, An. An Irish- 
woman's contentment. 

In a Pullman Car. I'athetlc 

India Rubber Tree. The. Humorous tale. 

It Was a Dream. A young wife's dis- 
contentment. 

"I ^'ex Me Not With Brooding on the 
Years." Religious. 

John Nicholls of Spartanburg. A war 
story. 

Keeping Young. By Dorothy Dli. 

Ladies of St. James, The. A love poem. 

Lady Across the Aisle. The, The antica 
of a boy and girl. 

Little Western Man, The. Incident «■ 
the war. ^ 

Little Willie's Hearing. A little boy"* 
explanation of his deafness. ' 

Mammy's Visit to the City. Negro mono- 
logue. 

Man of a Thousand Loves. The. A fan- 
tasy. 

Mollie Pitcher. A war tale. 

Motherhood. Dramatic. 

Mother O 'Mine. By Rudyard Kipling. 

My Besettin' Sua. Negro dialect, humor- 
ous. 

My Sprhigs. A love poem. 

Natural Coward, A. A negro fable. 

Night Reverie, A. Reflective. 

Off to the Shore. Monologue, humorous. 

Philander Beldtng's Mistake. A mono- 
logue. How he was cured of being 
"close." 

Philosophy at Ten. Child dialect. 

Politeness of William Hlggel, The. A 
tale of irony. 

Power of Big Words. The. Their effect 
upon a negro. 

Rural Sparking. A. Hmnorous. 

Said the Rose. A pretty legend. 

Service. A mother's justification. 

Short Letters of a Small Boy. Humor* 
ous. 

Slanguage of Love, The. A slangy tale. 

Smaller Thhigs, The. Religious. 

Social Spirit. The. 

Song of Degrees, A. He and she, at dif- 
ferent ages. 

Song of Hope, A. Encore, serious. 

Straight as a String. A tragedy of a 
miner. 

Tale of a Bill. The. Humorous. 

Tears. Reflective. 

Ten Minutes in a Trolley. Humorous 
monologue. 

That Little Chap of Mine. A father't 
love f«r his son. i 

Tin Gee Gee. The. Meditations of a tM 
soldier. ' 

Toast to th© Flag. Patriotic address. 

Trap. The. By Victor Hugo. Dramatic. 

Two Little Boots. Pathetic. 

Union and the Flag, Tlie. Patriotio 
poem. 

"tJnlo One of These Little Ones." A 
Christmas tale. 

Vothig Woman, The. Humorous Micore. 

We've AH Oiu: Angel Side, Religious. 

What's in a Name? N^ro dialect. 

Why ? ChUd dialect. 

Woman Who Understands, Th». H«rola» 
inspiring. 



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